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Lot 100
An Oval Painted Occasional Table England circa 1790, of the Sheraton period, the centre of the top with a coloured engraving in the manner of George Morland, 90cm wide, 73cm high, 67cm deep A charming and unusual Sheraton period, painted and parcel gilt oval occasional table, the centre of the top with a coloured engraving in the manner of George Morland, depicting a bucolic group including a lady in an enormous hat at the centre and a musician with a dog; the remainder of the top painted in ochre colouring and with oval bands heightened with gold beading, surrounded by a garland of flowers and delicate leaves and an outer, scalloped border of gilt hatchwork, raised on a triform base with splayed legs joined by a shaped platform with a large central rosette and a guilloche border, the legs ending in scroll toes with blocks. The table may have been supplied as part of Lord George Germain's modernisation of Drayton when he took over in 1769. Between 1771 and 1774 the dining room was completely remodelled, possibly under the supervision of Sir William Chambers. Chambers was also probably responsible for the redecoration of the Green Drawing Room in 1773. A London cabinet-maker and upholsterer named Chisholme (probably Thomas Chisholme of 7 Great Pulteney Street) supplied a set of painted seat furniture for this room in 1774.
Lot 106
A Pair of Regency Library Armchairs England circa 1820, of large scale with caned seat, back and sides, the channelled hand rests above ring turned supports and ring turned front legs all with brass castors, the buttoned deep seat and arm supports upholstered in tobacco coloured suede, 70cm wide, 103cm high, 75cm deep During the refurbishment of Stourhead, Wiltshire at the beginning of the 19th century, chairs such as these where the framework is filled by caning, were referred to by Thomas Chippendale the younger (1749 - 1822) as hunting chairs. Also referred as such by Thomas Sheraton in his Cabinet Dictionary of 1803, in which it is noted that they "formed a temporary resting place for one that is fatigued as hunters generally are." Other examples are sometimes furnished with a reading slide or foot rest, see: Shorter Dictionary of English Furniture, Ralph Edwards. Country Life, 1964, p.169, pl.3. Provenance: Rushbrooke Hall, Bury St. Edmunds.
Lot 116
A Japanese Parquetry Cabinet Japan circa 1850, veneered on every face with parquetry in a variety of woods, the upper section with cupboard doors enclosing six drawers in the interior, all above a large single drawer, the exterior has silvered hinges, corner mounts, escutcheons and handles, all with delicate floral and foliate engraving, 60cm wide, 53cm high, 13cm deep
Lot 159
A Jackson & Graham Davenport England circa 1870, attributed to Jackson and Graham, the top is enriched with a pierced gallery with ivory balustrades, the cover opens to reveal a lavish yew wood interior with cedar lined drawers and pigeon holes, there is also a sliding bolt which releases an articulated pen drawer on the outside, the desk stands on ivory strung ebony columns with carved foliate enrichments, 58cm wide, 82cm high, 58cm deep Jackson and Graham were amongst the most prestigious nineteenth century cabinet makers with extensive premises in Tottenham Court Road. They carried out numerous Royal and noble commissions and won prizes in international exhibitions. One of their largest pieces is now in the Victoria and Albert Museum. The architect/designer Owen Jones worked closely with the firm creating some of their most innovative forms and designing their shop. The high quality of their marquetry work both singles them out and is the reason why they weren t more prolific, hence the rarity of their work and its subsequent collectability. Clive Edwards in his article describes this famous firm, Jackson and Graham, for the Furniture History Society thus: 'In the pantheon of Victorian furnishing enterprises, few names are more important than Jackson & Graham'. Charlotte Gere and Michael Whiteway describe Jackson and Graham in their work 'Nineteenth Century Design' as 'probably the most Important High Victorian Cabinet-making firm'. With academe clamouring to lavish praise of such high degree on this company's head, why is it that almost no one has heard of them? The truth is that the endeavours of the nineteenth century cabinetmakers are still undervalued. The advent of the mechanical age and the lush overelaboration of the epoch combine to seemingly render the whole Victorian era second rate. The mistake this idea represents is only now coming to light. Indeed Jackson & Graham celebrated this same mechanisation. They delighted in the fact that their machines afforded them the opportunity to execute a sophistication of marquetry that mere hand work could never have been achieved. It is true that Jackson and Graham were elaborate in their confections, but the sophistication therein contained rendered their work superior to all but a few. The firm was active between 1836 and 1885. They had premises in Oxford Street, which gradually expanded until they controlled six buildings on the same street. They were great exhibitors at fairs and like other cabinet makers of the age, they employed fashionable designers and architects to enhance their work. Amongst these, Jackson and Graham employed Dr Christopher Dresser and Bruce Talbert. However, the longest and closest affiliate was Owen Jones. He was central to the work carried out for Alfred Morrison at 16 Carlton House Terrace and Fonthill, Wiltshire. Pieces made for Morrison were shown at exhibitions around Europe and Owen Jones' style defines the Jackson and Graham look. The firm gradually moved into decline through a mixture of internal strife and external trading conditions, finally, being bought out by their rivals, Collinson & Lock in 1885.
Lot 260
A George IV Brass Four Poster Bed England circa 1825, the four reeded posts cast with inverted lotus leaves, surmounted by finials and resting on spoked castors, 185cm wide, 275cm high, 215cm deep A George IV lacquered brass four-poster bed, the four reeded posts cast with inverted lotus leaves, surmounted by similarly-cast finials and resting on large, spoked castors. Provenance: From the property of the late Lord Elliott. Broughton Place, Peebleshire, Scotland. Born Walter Archibald Elliott in London on the 6th of September 1922, he was brought up between a house on London's Cheyne Walk and Broughton Place in Peebleshire - a Scottish baronial estate set amidst grouse moors, built by the architect Sir Basil Spence (1907 - 1976). After serving in the Second World War he returned to Scotland to study law, and was subsequently appointed QC in 1963. He also served as President of the Lands Tribunal for Scotland from 1971 to 1992. Re-upholstered throughout in Persian red and pale lemon coloured silk. The use of bold inverted lotus leaves as sculptural decoration to each of the four posts are distinct features of furnishings from this period and in particular the designs of George Bullock (1782/3 - 1818) Bullock was one of the most important furniture makers involved in the re-flowering of Greek and Roman taste in the early nineteenth century. He moved from Liverpool to 4 Tenterden St. Hanover Square, London in 1812, where he had an established business as a sculptor, modeller and cabinet-maker. His patrons included Sir Walter Scott for Abbotsford in the Scottish borders, Matthew Boulton at Great Tew Park, Oxfordshire and the exiled Napoleon Bonaparte's house on the island of St Helena. The impressive height of this grand example indicates that it was commissioned to take advantage of the full height of the intended bedroom's ceiling space. The four poster's long history in England had made it an ideal furnishing item for the display of lavish bed hangings, that provided a spectacle for the room and very necessary protection against draughts. By the beginning of the nineteenth century, various alternatives on the theme became more popular, for example the tent or field bed, the campaign bed and the French style, that involved curtains draped from a fixed pole above the bed or rich hangings from a domed tester. A considerable change in construction took place from the 1820's with the use of cast iron and polished brass as the favoured materials, replacing carved or painted posts. Literature: H. B. and Sons, Sudley Gallery, 1988. George Bullock. John Murray Publishers.
Lot 335
A William IV Amboyna Writing Table England circa 1830, in the manner of George Bullock, the highly figured rectangular top is edged with inlaid calamander in the form of a running band of inlaid flowers and foliage, the frieze with two drawers to one side, the table is supported by pedestals at each end similarly veneered in amboyna and enriched with finely carved neo-classical foliate mouldings, the supports terminate in scroll feet on castors,the highly figured rectangular top is edged with inlaid calamander in the form of a running band of inlaid flowers and foliage, 155cm wide, 73cm high, 69cm deep George Bullock (1782/83-1818) was a renowned sculptor, cabinet-maker and entrepreneur. Although forgotten for many years, he was recognised as the foremost exponent of the Regency style popularised by Thomas Hope. After a successful career as a sculptor and furniture designer in Liverpool, he moved to London in 1814 and established his furniture workshop at 4, Tenterden Street, Hanover Square. His highly original designs, drawing on contemporary Greek Revival and Empire styles, many of which were published in Ackerman's Repository of Arts , attracted such distinguished patrons as Sir Walter Scott and Matthew R. Boulton. His most famous commission came in 1815 when the British government ordered a suite of furnishings for the exiled Emperor Napoleon on St. Helena. Following his death the artist Benjamin Haydon commented, George Bullock was one of those extraordinary beings who receive great good fortune and are never benefited by it, and suffer great evils, and are never ruined, always afloat but never in harbour and two years after his death Richard Brown wrote in The Rudiments of drawing Cabinet and Upholstery Furniture that, The late Mr Bullock was the only person who ventured into a new path....There was great novelty without absurdity, as well as a happy relief in his ornaments. It is now part of furniture legend that this pre-eminent cabinet-maker was soon forgotten and it was not until the auction of the Boulton house, Great Tew Park in 1987 that his reputation was revived. The following year Blairman held an exhibition of his work and published a catalogue featuring appraisals of Bullock's work by Clive Wainwright and Lucy Wood. His reputation was restored. The Tew Park furniture is particularly useful for Bullock studies as the original bills survive and signature techniques and styles can be observed en masse. In particular the strength of the overall design is typical of Bullock's architectural rather than a pure furniture approach.
Lot 350
An Empire Gueridon Attributed To JJ Werner France circa 1820, attributed to JJ Werner, profusely mounted with gilt bronze, the frieze has a brass stringing line along the bottom edge, 73cm high Jean-Jacques Werner (b. 1791 d. 1849) was born into a wealthy family in the Canton de Vaud region of Switzerland, later assuming French nationality in 1826 he became one of the most illustrious cabinet-makers of the Restauration period. He was established as an ébéniste in 1812 and won great acclaim at the Paris Expositions of 1819 and 1823 for his innovative use of combining rare woods with intricate marquetry. He also frequently embellished his pieces with beautifully executed gilt bronze mounts, particularly anthemion motif which typified the period. Werner enjoyed considerable success, earning the patronage of the Bonaparte family, the Duchesse de Berry and the King of Bavaria among other notable patrons; examples of his work can be seen at the Musée des Arts Décoratifs in Paris and the Grand Trianon at Versailles.
Lot 358
A Pair of Rosewood Penwork Cabinets England circa 1820, with grisaille penwork composite tops depicting neo-classical scenes, the frieze with a long drawer, above a door with brass grilles, lined with yellow silk, enclosing a single adjustable shelf, flanked at the corners by quarter columns, raised on turned topie feet, 80cm wide, 89cm high, 41.5cm deep This fine pair of rosewood cabinets, owing something to the designs of Thomas Hope epitomise the taste for Greco - Egyptian neo classicism with motifs resembling sculpture on the tops. Figure compositions such as these with highly complex arrangements were almost certainly only taken on by the most skilled professional penwork artists. The present cabinets, not only show the artists skill in the fine and well drawn floral border consisting of blooming flowers and twisting foliage details, but each also has a parade of graceful dancers on one cabinet and a classical military scene on the other; perhaps a reference to war and peace.
Lot 365
A Tortoiseshell Cabinet On Stand Germany circa 1740, with mahogany and ebony cross banding throughout, the panelled doors enclosing three long drawers and a central cupboard with two short drawers to either side, the internal cupboard with three secret drawers behind a false back, the drawers with brass drop ring handles and mahogany lining, the cabinet mounted on a modern giltwood stand, 56cm wide, 53cm high, 31cm deep
Lot 47
A Regency Miniature Mahogany Cabinet England circa 1810, 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, the drawers retaining their original button handles, the cabinet ending in topie feet , 49cm wide, 48cm high, 21cm deep
Lot 79
A Louis Philippe Mahogany Commode France circa 1845, stamped by the marchand BARRAUD underneath the marble, having a shallow drawer in the frieze, which is inlaid in the centre with a marquetry butterfly and is bordered in satinwood stringing, which terminates in a key pattern scroll, the top drawer is lockable via a concealed lock above the second drawer, the three lower drawers are flanked by pilasters and each element has satinwood stringing, the lower drawers are locked via the hinged right-hand pilaster, throughout the piece, the mahogany is of the finest quality, as is the cabinet-making, the drawer linings are of solid mahogany with fine dovetails, the commode retains its original grey marble top, 130cm wide, 94cm high, 59cm diameter
Lot 268
A VERY FINE EDWARDIAN ROSEWOOD AND MARQUETRY INLAID SIDE CABINET the super structure with bevelled glass mirrors and moulded shelves joined by baluster supports the base of rectangular bowed outline with frieze drawer and cupboards and open compartments on turned legs 238cm (h) x 150cm (w) x 50cm (d)
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