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Lot 108
A Regency rosewood and parcel gilt side cabinet The rectangular black fossil marble top above a lobed frieze and a later bowed central door with brass grille and backed by pleated silk enclosing three shelves and three later fitted boxes, flanked by a pair of cupboard doors with brass grilles and backed by pleated silk each enclosing two adjustable shelves, above a lotus leaf carved moulding and spirally turned gilt and ebonised feet, with restorations, 123cm wide, 41cm deep, 101cm high. NB: Requires a CITES license if exported outside the EU
Lot 125
A Regency carved mahogany chest of drawers attributed to T & G Seddon The rectangular top above two short and three long drawers flanked by Corinthian carved pilasters headed by roundels, on a scrolling lotus leaf carved plinth base, 112m wide, 55cm deep, 104cm high. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 11.0px Helvetica; color: #ff4d41; -webkit-text-stroke: #ff4d41} p.p2 {margin: 0.0px 0.0px 0.0px 0.0px; font: 11.0px Helvetica; color: #ff4d41; -webkit-text-stroke: #ff4d41; min-height: 13.0px} span.s1 {font-kerning: none}An identical chest labelled T&G Seddon and bearing the firm's Aldersgate Street address and inscribed '1786' and 'Jaime'? formerly with Carlton Hobbs Ltd., is illustrated in C.Gilbert, Marked London Furniture 1700-1840, Leeds 1996, p.414, pl.823. The unusual handle pattern utilised by Seddon on the lot offered here is seen on bedroom furniture supplied by Morel and Seddon to George IV for Windsor Castle. These include a mahogany chest of drawers circa 1828 (RCIN 21707), see H.Roberts, For the Kings Pleasure, The Furnishing and Decoration of George IV's Apartments at Windsor Castle, London 2001, p.284, pl.361, on an elm and giltwood secretaire, now in a private collection and on a further rosewood secretaire (RCIN 90169), see H.Roberts, ibid., p.317, fig 398, and p.327, fig 409. An unidentified cabinet from Windsor Castle with this handle pattern was sold Phillips London, 22 April 1986, lot 73. The firm of George Seddon existed in various manifestations between 1753 and 1868 and was one of London's leading furniture producers in the later part of the 18th century. T & G Seddon were Thomas Seddon II and George Seddon III, nephews of the original George Seddon and received a Royal Warrant in 1832.
Lot 129
A Regency carved oak and ebonised hall seat in the manner of George Bullock The rectangular panelled seat with reeded edge and turned reeded arms with lotus leaf carved supports, with lunette and ball carved apron, on reeded turned tapering legs and spool feet, 76cm wide, 47cm deep, 62cm high. The design of this window seat is often attributed to the workshop of George Bullock (1777/8 1818). Bullock had a varied career, having various partners and cabinet works both in Liverpool and London until his death; although, it is clear that he was originally trained as a sculptor and modeller. The above lot relates to the pair of window seats in holly and oak by George Bullock supplied in 1817 to M.R Boulton (died 1842) and thence by descent to Major Eustace Robb, Tew Park, Oxfordshire which were sold at Christie's Tew Park Sale, 27-29 May 1987 and then subsequently at Christie's London Fine Furniture, 27 November 2003, lot 179. A set of three window seats of this form from the Lily and Edmond Safra collection sold Sotheby’s. London, November 3, 2005, lot 354 ($48,000) and a further example, Sotheby's New York, Kentshire: A Legendary Collection, October 18, 2014, lot 328.
Lot 150
A Victorian burr walnut pedestal desk by T.H.Filmer & Sons The rectangular moulded top with later black leather and gilt writing surface above a frieze drawer flanked by four short graduated drawers and a plinth base, with castors, with brass label to interior of drawer 'T.H.FILMER & SONS, CABINET UPHOLSTERY, BEDDING & CARPET MANUFACTORY, 28,32 & 34 BERNER'S ST OXFORD ST, LONDON W.' 121cm wide, 67cm deep, 76cm high. Thomas Henry Filmer is first listed as a cabinet-maker, upholsterer and appraiser at 34 Berner's Street, London in 1835 (see C.Glibert and Geoffrey Beard, Dictionary of English Furniture Makers 1660-1840, London, 1986, p.299). See also Gilbert, Pictorial Dictionary of Marked London Furniture 1700-1840, London, 1996, p.28 & p.206, fig.351 which illustrates a teapoy by Filmer now in the collection of the V&A.
Lot 179
An early 19th century Dutch carved oak bureau cabinet The arched pediment inset with carved leaves and branches above a fluted frieze and a pair of panelled doors carved with stylised leaf mouldings, flanked by fluted Corinthian pilasters enclosing two shelves, a carved tasselled draped frieze flanked by six short drawers to each side, above a leaf carved moulded and shaped fall enclosing a central cupboard door flanked by six shaped drawers and a further six stepped drawers, above three long graduated drawers flanked by fluted and swagged angles above a guilloche apron and outswept fluted feet, with metal label to interior of drawers 'LK 994', previously painted, 136 cm wide, 56cm deep, 238cm high. Provenance: Sir Roger Fray Greenwood Ormrod, PC (1911-1992) the British Lord Chief Justice of Appeal. Thence by decent and purchased by the current owner.
Lot 21
A William and Mary kingwood oyster veneered and rosewood cabinet on stand The upper part with a moulded overhanging cornice and cushion frieze drawer above a pair of geometric inlaid doors enclosing an interior of ten various drawers around a central cupboard door enclosing five various small drawers, the stand with a long frieze drawer, on six later square section broken scroll legs joined by shaped stretchers uniting to support a radiating kingwood oyster veneered oval inlaid platform, on turned bun feet, with various old handwritten labels to the interior of the drawers and inscribed '1799', '1802', 'Jovis' and another 'Leverton Papers, to be Kept', 124.5cm wide, 52cm deep, 172cm high. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 11.0px Helvetica; color: #000000; -webkit-text-stroke: #000000} p.p2 {margin: 0.0px 0.0px 0.0px 0.0px; font: 11.0px Helvetica; color: #000000; -webkit-text-stroke: #000000; min-height: 13.0px} span.s1 {font-kerning: none}The cabinet offered here forms part of a small number of known cabinets which share certain similarities. Two have been published: notably an escritoire from the collection of the architect Basil Ionides with apparently a notably similar arrangement of kingwood oyster veneer roundels and spandrels (Country Life, August 11, 1950). This escritoire was referred to by Christopher Gilbert as a ‘highly important kingwood fall-front cabinet inscribed 'Thomas Pistor, Ludgate Hill, London, formerly owned by the Hon. Basil Ionides, which unfortunately remains untraced’, see C.Gilbert, The Pictorial Dictionary of Marked London Furniture, 1700-1840, Leeds 1996, p.44. A similarly veneered kingwood cabinet 'in two stages' forms part of the Noel Terry collection at Fairfax House, York and is illustrated in P.Brown, The Noel Terry Collection of Furniture & Clocks, York 1987, p.39, catalogued as c.1690-95 and acquired by Noel Terry from Mallett in 1935.It is possible that the class as a whole has a common maker (based on Christopher Gilbert's comments, possibly Thomas Pistor, for further information on this cabinetmaker see lot 27). There are similarities between different examples not only in the use of the veneers, but also in the details of the mouldings and other points of construction. The name 'Kingwood' does not appear in British sources until 1770 before which it was probably referred to as princes wood although the exact Botanical species has not been identified other than being a species of Dalbergia, see A.Bowett, Woods in British Furniture Making 1400-1900, Wetherby 2012, p.104.Bowett notes that kingwood had generally gone out of fashion by around 1730 but was re-introduced, very possibly by the French émigré cabinetmakers in London during the 1770’s. Kingwood was amongst the most expensive woods generally used by cabinet-makers at the time, and its use is invariably associated with furniture of high quality. NB: Requires a CITES license if exported outside the EU
Lot 27
A William & Mary kingwood oyster veneered cabinet on chest attributed to Thomas PistorThe upper part with a moulded overhanging cornice and a cushion frieze drawer above a pair of cupboard doors inlaid with concentric circles and enclosing a fitted interior of eleven various drawers, the housing for two of the larger top drawers concealing sliding compartments with small removable lidded boxes, around a central cupboard door with a sliding panel and concealed box compartment within the door, the door enclosing four further small short drawers, the lower part with two short and two long drawers, on later bun feet, the sides similarly decorated with oyster veneers, 119cm wide, 51cm deep, 180.5cm high The attribution to the London cabinet-maker Thomas Pistor is based on a group of pieces identified and previously with W.R Harvey including two kingwood cabinets and a desk to which the cabinet offered here is clearly part of the same group.There were in fact two cabinet-makers called Thomas Pistor, father and son, working for a period at the same time but at different premises. One or both are known to have made furniture of quality for Levens Hall although the group of kingwood pieces that correspond to the cabinet offered here do not relate directly to the Levens Hall furniture.From the 4-18 August 1950 Country Life ran a series of articles featuring what was then the recently rebuilt Buxted Park, a house reconstructed by the architect Basil Ionides following a serious fire and in one of the illustrations a kingwood escritoire is visible. Subsequently Christopher Gilbert commented in The Dictionary of Marked London Furniture, Leeds, 1996, p.44 that a “highly important kingwood fall-front cabinet inscribed ‘Thomas Pistor, Ludgate Hill, London’, formerly owned by the Hon. Basil Ionides, unfortunately remains untraced. It was amongst the Buxted Park furniture at Sotheby’s, 25 September 1963, lot 168 (withdrawn)…”. The whereabouts of this escritoire remain unknown and further details of how the pieces was marked remain uncertain.There was in fact no Sotheby’s sale on this date. A somewhat later sale of the Ionides’ property was held by Sotheby’s, 1 November 1963, in which lot 168 was described as “A William and Mary olivewood secretaire cabinet in richly figured parquetry…”. although no trade label is mentioned. It is nonetheless possible that this is the piece referred to by Christopher Gilbert. Gilbert was amongst the first generation of furniture historians to have begun compiling archives of stamped and labelled furniture leading to the publication of both The Dictionary of English Furniture Makers and Marked London Furniture 1660-1840 (1996). The Buxted cabinets appearance could well have meant that his attention was drawn to it by the furniture department at Sotheby’s while processing the Ionides property.The overall profile and proportions of the Buxted escritoire conforms to that of the cabinet offered here and the W.R Harvey cabinets as does the pattern of oysters visible on the frieze drawer, and there is a strikingly similar large radiating circular pattern. It is undoubtedly the same maker responsible for the cabinet offered here and for the two W.R Harvey cabinets, one of which is a near pair to the above cabinet. The two cabinets share virtually identical dimensions, profile of the mouldings at the cornice, waist and base. The size and layout of all of the drawers are identical and in both cabinets secret drawers can be found in the underside of the internal door and above the two top internal drawers and the use of veneers is near identical on both pieces. The interiors of both are furnished with two large drawers above and below the central door, three smaller drawers either side, and a small drawer immediately below the door. The veneers on the drawers are again almost identical, the chest sections have dovetails that appear to have been cut by the same hand. The internal door locks appear the same and most strikingly of all, the stylised numbers on the backs of the internal drawers and the corresponding divides were seemingly done by the same hand presumably in the same workshop.
Lot 31
A Queen Anne black japanned bureau cabinet The double-domed cornice, with flambeau finials above a pair of conforming doors with bevelled mirror doors revealing a partially red-japanned interior with an arrangement of shelves, pigeonholes, folio divisions and small drawers, the fall enclosing a fitted interior with conforming decoration including a well, below are two short and two long graduated drawers, on bun feet, restorations, 102cm wide, 58cm deep, 221cm high. With close similarities to a Queen Anne black japanned bureau cabinet, sold Christies, London, 29 November 1984 (realised £41,040 including buyer's premium) illustrated G.Beard & J Goodison, English Furniture 1500-1840, p.62. This pattern of bureau cabinet was produced with other coloured schemes of japanning and is of closely related overall form and decoration to a bureau cabinet exhibited by The Pelham Galleries, Paris at TEFAF Maastricht, 2007 and formerly offered a Della Rocca, Torino, 21 November 2006. A red japanned example of very similar form with the addition of a wavy apron was exhibited by Mallett & Son at The Grosvenor House Antiques Fair, London 1959 and illustrated in the accompanying handbook. The vogue for lacquered objects and screens which were brought back to Europe by the East India Company in the late 17th century resulted in demand for larger pieces with a similar style of decoration. Western cabinet-makers turned to John Stalker and George Parker’s seminal 1688 Treatise of Japanning and Varnishing which provided the recipes for producing the various different colours but also templates of Chinese figures, plants and gardens which could be used to create seemingly authentic Chinese scenes. European ‘japanning' remained fashionable until the end of the eighteenth century.
Lot 57
A George III carved mahogany bureau cabinet attributed to Thomas Bradshaw The pierced broken swan-neck acanthus and egg and dart carved and moulded pediment above a leaf and bellflower carved frieze and a pair of Gothic arched astragal glazed doors enclosing two adjustable shelves, the lower part with a sloping fall enclosing a panelled door flanked by triple cluster column 'secret drawers' and six pigeonholes with pierced fret arcading, above two short and three long graduated drawers and a wreathed base moulding, on acanthus carved ogee bracket feet, 107cm wide, 57cm deep, 264cm high. The distinctive pierced cornice is a feature often used by the cabinet-maker Thomas Bradshaw. A bureau bookcase by Bradshaw with this type of cornice is illustrated in C.Gilbert, Pictorial Dictionary of Marked London Furniture 1700-1840, p.119, pl.150. Bradshaw is listed as working at St.Paul’s Churchyard 1754-75 and subscribed to Chippendale’s 1754 Director. He was declared bankrupt in 1772, (see G.Beard & C.Gilbert, Dictionary of English Furniture Makers 1660-1840, p.99). A Bradshaw display cabinet of circa 1760 and formerly with Freshfords Antiques with pierced swan-neck fret pediment has comparable acanthus carved glazing bars, a more unusual feature. See Sotheby's, Important English Furniture, 30 June 2004 for a George III mahogany linen press, circa 1760, attributed to Thomas Bradshaw. A very similar unattributed bureau-cabinet, formerly with Hotspur, was sold Christie's, Important English Furniture, 6 July 2000, lot 150. A secretaire bookcase with pierced cornice, almost certainly attributable to Bradshaw and formerly with French & Co., New York, is illustrated in F.Lewis Hinckley, Metropolitan Furniture of the Georgian Years, 1988, p.138, Ill.212. Two further unattributed but similar examples can be noted in C. Claxton Stevens & S. Whittington, 18th Century English Furniture, The Norman Adams Collection, pp.192 & 197, the one illustrated on p.192 has a comparable wreathed moulding, whilst both have ogee bracket feet as seen in the above lot (although this example has more sophisticated feet) rather than the blind fret bracket foot which is often seen in Bradshaw pieces.
Lot 88
A late George III satinwood, tulipwood banded, ebonised and line inlaid bowfront side cabinet The shaped rectangular top with projecting corners above a plain frieze and a pair of grille panel doors with pleated silk backing enclosing velvet lined shelves flanked by tapering fluted columns and with similar columns to the back corners on ebonised turned toupie feet, 95cm wide, 37cm deep, 75cm high.
Lot 99
A Regency mahogany, ebonised and brass marquetry sofa table The rectangular hinged top with canted corners and reeded edge above one short freize drawer and one simulated drawer to each side, on reeded 'X' form legs joined by a ring turned stretcher on hairy paw feet, 163cm wide, 65cm deep, 72cm high. The earliest published designs for furniture in the Regency style are in Thomas Sheraton's Cabinet Dictionary of 1803. The design for this sofa table can be compared to plate 62 in the Dictionary for 'A new design for a Pembroke table’. The inspiration of the ‘antique’ style can be seen in the work of major designers of the period and in the published works such as Thomas Hope’s, Household Furniture and Interior Decoration (1807) and George Smith’s Collection of Designs for Household Furniture and Interior Decoration (1808). The use of the X-frame support in the ‘antique’ manner can been seen on the Regency rosewood writing table supplied to Southill, Bedfordshire and attributed to Marsh and Tatham, illustrated in Southill, A Regency House, pl.42 London, 1951, pl.46. The influential designs of Charles Heathcote Tatham, which are encapsulated in his 1806 work Etchings representing Fragments of Grecian and Roman Architectural Ornaments is evident in the architect Henry Holland’s work at Southill where Holland was known to have worked with C.H Tatham’s brother Thomas and his partner William Marsh. The X-frame support was also extensively employed by Thomas Hope on the tabouret in the Indian Room at Duchess Street and on the chairs in The Flaxman Room at Duchess Street, both appearing in engravings in Hope’s 1807 publication.
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