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A LATE 19TH SATINWOOD CHIPPENDALE REVIVAL DISPLAY CABINET, of neo-classical design, having a moulded dentil cornice above a frieze inlaid in ebony with a Greek key border, two astragal glazed doors, the lined interior fitted with two shelves, the lower section fitted with a long and two short drawers with silver plated oval back plates engraved with classical urns and oval ring handles, on tapered reeded legs joined by an under tier with fretwork gallery. See illustration
AN EDWARD VII MAHOGANY AND INLAID SEMI-BOW FRONT DISPLAY CABINET, having an arched raised back, above a single tracery glazed bow fronted door flanked by a mirror back open compartment and indented panel door inlaid in satin and harewood with a ribbon tied bouquet, to either side, on square tapered legs joined by an undertier, 113cms wide x 204 cms high
A Queen Anne walnut double domed cabinet on chest, circa 1705, the moulded cornice above a pair of arched mirror glazed doors enclosing an arrangement of drawers, above a secretaire drawer containing an arrangement of drawers and pigeon holes, below are three graduated long drawers on bracket feet, 222cm high, 107cm wide, 55cm deep (later mirror plate) Provenance: Wormsley Park; formerly in the Drawing Room Visit www.dnfa.com for condition reports
A pair of George III mahogany and tulipwood crossbanded dining room pedestals, circa 1770, in the manner of Thomas Chippendale, each with a rectangular top above two crossbanded panels, flanked by carved paterae above stop-fluted pilasters, on a plinth base, the first pedestal with a frieze drawer above a door opening to a tambour fronted cupboard and a deep drawer, the other with a hinged door opening to a later converted interior containing two shelves, (formerly with a sheet metal lining attached to the interior) each 95cm high, 51cm wide, 53.5cm deep, Country houses in the 18th century normally had State Rooms such as the Drawing Room, Library and Dining Room at the centre and the kitchens and domestic quarters in the wings. The distance of the kitchens from the Dining Room necessitated the design of furniture which not only fitted in with the architecture and decorative detail of the room, but was also functional. One of the present pair of pedestals originally had a metal-lined interior with tiers of wooden slats to support either plates or hot food kept warm by a brazier below, the other has a tambour-fronted chamber pot compartment with a drawer below which may have contained a tray for ice. Thomas Chippendale furnished David Garrick`s dining parlour with "2 mahogany pedestals, one fitted as a plate Warmer, the other with water divisions in the Top part" and to stand between them "Mahogany Sideboard Table with Term Feet". William Gates, the Royal Cabinet-maker supplied the Prince of Wales in 1780 for the then Queen`s House, now Buckingham Palace, a pair of "fine mahogany urns on square pedestals, the inside of one lined with tin, with wooden racks to hold silver plates vertically, and a large brazier in an iron grid frame fixed to the bottom to warm the plates, and the other pedestal with a lead-lined cistern for iced water". Visit www.dnfa.com for condition reports
A George III harewood and feather-banded "Harlequin Pembroke Table", circa 1795, with metamorphic action, the rear half of the top with rising superstructure containing an arrangement of small drawers, the front half with hinged writing surface supported by pull-out lopers, flanked by a pair of drop leaves with cat gut pulleys, above a frieze drawer and a tambour-fronted cupboard, on square tapering legs with brass castors, 87.5cm high, 83.5cm wide extended, 51.5cm deep Literature: This writing desk is based on a design for a "Harlequin Pembroke Table" illustrated in plate 56 of The Cabinet-Maker and Upholsterer`s Drawing-Book, by Thomas Sheraton, published in 1793. He suggested such a table serve "not only as a breakfast, but also as a writing table, very suitable for a lady" Visit www.dnfa.com for condition reports
A late Victorian mahogany cabinet on stand, circa 1900, the fall front titled "ORDNANCE SURVEY OF ENGLAND & WALES", containing a quantity of ordnance survey maps, the stand on turned legs with a rectangular undertier, turned feet, brass caps and castors, 84cm high, 72cm wide, 35cm deep Visit www.dnfa.com for condition reports
Marryat Works, Volumes 1-14, (volume 13 missing), half calf bound with marble boards and gilt lettered spines, The Newcomes, Volumes 1-4, half calf bound with marble boards, by W M Thackeray, Poetical Works of Sir Walter Scott, complete in one volume, Francfort O. M. printed by and for H L Broenner, 1826, twelve volumes Knights Cabinet, Shakespeare, red cloth bound with gilt lettering, with numerous other literature and poetry books to include Sir Walter Scott, Lew Wallace, Longfellow and others
Good Edwardian walnut side cabinet by Jas Shoolbred & Co, the raised upper section fitted with an arcaded mirror recessed centre flanked by double glazed cupboard doors over a central carved panel flanked by bevelled mirrored panels, the lower section with central demi-lune recess over an arched bijouterie glazed central section over carved cupboard doors flanked by arched open recesses over square glazed cupboards, supported upon a stepped plinth and short turned feet, surmounted by a broken arched dentil cornice and urn finial, 57" wide
A Regency rosewood bow fronted Side Cabinet with white marble top above 2 frieze drawers inlaid with cut brass stylised flowers above 2 grille drawers lined with pleated silk, the side rails inset with cut brass stars and on a shaped apron with fluted turned supports, 3` 1" (94cms) wide, together with a receipt from J & W Tweed, Bradford, dated 1965.
Wooden coin cabinet, approx. 12" x 10" x 6.5" (30cm x 25cm x 16cm), having twelve drawers, with various size slots, lined with felt, with metal carrying handles, lock and key, minor damage at sides from where previous handles were fitted, otherwise good condition (Care! High international shipping costs)
An Italian ivory inlaid table cabinet, late 17th century, with a hinged fall front, revealing a central cupboard surrounded by ten drawers, with cocus wood and ivory parquetry, the drawers inlaid with arabesque scroll work, with lion mask loop handles, iron carrying handles, on bun feet 51.2cm wide 33cm deep 40cm high on a later walnut and spiral turned stand, with twin biased resting bars 57cm wide 39cm deep 76cm high
A set of six George II walnut ladder back dining chairs, by Giles Grendey. Giles Grendey was one of London`s most successful 18th century furniture makers. He was apprenticed in London Joiner`s Company in 1709 and became `free` in 1716. By 1720 he was running his own workshop, taking his first apprentice in November 1720. Grendey set up shop in St. John`s Square, Clerkenwell, where it remained for the rest of his career. His dwelling house was close by at No.2, Lyon Street. In 1729 Grendey was elected to the Livery of the Joiner`s Company and served as Upper Warden in 1747 and 1757, before becoming Master in 1766. By this time he was 72 years old and had probably retired from full time business. By 1779 he had moved to a country estate in Palmer`s Green, where he died on 3 March 1780, aged 87. Grendey`s workshop was on the site of the former London house of the Earl of Aylesbury. It was far larger than most furniture shops, and this suggests that Grendey was both ambitious and well funded. When his workshop was struck by fire in 1731 over £1,000 worth of stock destined for export was destroyed. Yet compared with contemporaries such as Thomas Chippendale, relatively little is known of Grendey`s work. Known documented commissions are few and cannot easily be reconciled with extant furniture His reputation rests primarily on surviving pieces bearing his trade label. About fourteen labelled items and suites are known, including the spectacular Lazcano commission of at least seventy-seven red and gold japanned items, now widely dispersed. The Newport church chairs were first recognised and published by Simon Jervis in 1974. No documentation survives and it is not known how and when these dining chairs came to be in Newport Church.. The chairs can be approximately dated by the style of the label which, although fragmentary, corresponds to the shorter of two versions employed by the Grendey workshop. Other furniture bearing this label can be dated on stylistic and technical grounds to the 1740s or later, and so the present chairs are likely to have been made in the middle years of the 18th century. The ladder-back style derives ultimately from the so-called `Dutch chairs` of the early 18th century; these ladder-backed, turned and rush-seated chairs were imported from Holland in huge numbers from the late 17th century onwards, and were also widely copied by English chair-makers. The Grendey examples are `polite` versions of the form, demonstrating its acceptance into mainstream English furniture-making. Chairs of this type were typically furnished with rush or `matted` seats, a cheap and popular alternative to the more expensive upholstered drop-in seat. The present boarded seats are replacements, installed some time before 1974. The rush seat now fitted to no. VI was made while the chair was on loan to the Victoria and Albert Museum. Marks and stamps: the chairs frames are not numbered, but the later boarded seats are numbered I to V in ink on the undersides. Chair no. V and the labelled chair are stamped T C on the inside of the back rails (other chairs may be stamped but the later seats obscure much of the seat rails). This stamp is hitherto unrecorded. Others chairs bearing Grendey`s label are also stamped with various initials, assumed to be those of journeymen employed in Grendey`s workshop. Selected literature: R. W. Symonds, `Giles Grendey (1693-1780) and the Export Trade of English Furniture to Spain`, Apollo (1935), pp. 336-342. R. Edwards & M. Jourdain, `Georgian Cabinet-Makers VIII - Giles Grendey and William Hallet`, Country Life (1942), pp. 176-77. R. Edwards & M. Jourdain, Georgian Cabinet-Makers, London, 3rd edn. (1955), pp. 47-48, 144-5. Christopher Gilbert, `Furniture by Giles Grendey for the Spanish Trade`, Antiques, XCIX (1971), pp. 544-50. Simon Jervis, `"A Great Dealer in the Cabinet Way" - Giles Grendey (1693-1780),` Country Life (6 June 1974), pp.1418-1419. G. Beard & C. Gilbert, eds., Dictionary of English Furniture Makers, 1660-1840, Leed, (1986), pp. 371-372. Christopher Gilbert, Pictorial Dictionary of Marked London Furniture, Leeds (1996), pp. 31-2, 238-249.
A good mid-19th century Sevres porcelain cabinet cup and saucer, with hand painted in puce with a gentleman inspecting an artist`s work, with harbour and ships in the background, the saucer decorated with figures outside a tent, within landscaped surroundings, gilt rims, printed green oval mark S55, printed crowned `N` Dore R Sevres, 56, incised marks, cup 6.5cm, saucer 12.2cm (2)
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306845 item(s)/page