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An attractive 20th Century carved and finely figured mahogany demi-lune Commode, in the manner of Thomas Chippendale by Waring & Gillows Ltd., stamped and with label, the moulded top over a carved frieze, with single panel door, and a gadroon decorated base, with four ball n' claw feet, 122cms, (48") wide. (1)
A fine quality set of 8 (6 + 2 Carvers) Irish mahogany Dining Chairs, carved in the Chippendale style by Robert Strahan, Dublin, with pierced backs, shaped arms and reeded front legs, each covered in original leather and bearing the original makers labels. (8)Provenance : The Aske, Shankill, Co. Dublin and formerly at Ballynahinch Castle, Connemara, Co. Galway.
GEORGE III PERIOD MAHOGANY CHIPPENDALE SILVER TABLE, CIRCA 1780 the rectangular shaped top, below a pierced fretwork gallery rail, above a blind fretwork carved frieze, raised on pierced fretwork bracket headed square chamfered legs, terminating on block feet, with inset brass castors 74 cm. high; 86 cm. wide; 54 cm. deepThe importance of the silver table in the late eighteenth-century is stemmed from the prevailing social hierarchy, and as a focal point in the tea-making ritual of the period. Evolved from a tray for silver on a stand, they originated in England where they were popular amongst the elite.Silver tables were used to display the ceramic tea set and as a tea table when it was time to take tea. Tea drinking was a signifier of wealth and of good taste. Because of this, well-to-do families proudly displayed the trappings associated with the ritual. Like tea, ceramics imported from China (the only country to give its name to a product) were expensive, indeed, very expensive. In a classic example of form following function, the precious china was protected from falling off the edge by a fence-like gallery rail that ran around the rim of the tabletop: the swishing of ladies’ petticoats being a particularly high risk factor. Chinoiserie was a style that developed on foot of the influence of exotic porcelain, lacquerware, bronzes and other forms of applied and decorative arts imported from China and Japan. Such was the fascination that Europeans began to create their own fanciful interpretations of oriental styles and motifs. This new style, derived from the French word chinois (Chinese), became known as Chinoiserie.Thomas Chippendale, 1718 – 1779, interpreted oriental motifs and transformed them into fretwork and carved decoration in his Chinoiserie designs. In 1754 he published a book of his designs, titled The Gentleman and Cabinet Maker’s Director, for which he gained fame and renown. He was one of England’s finest furniture makers. Harewood House, near Leeds, in his native Yorkshire represented his biggest commission. He is buried beneath the National Gallery in London.
A George III mahogany fold over games table, with concertina action in the Chippendale style, the shaped top hinging to reveal sections for gaming counters, above a frieze drawer on heavy cabriole club supports, oak lined, bearing label to the drawer The Cottam Collection no. 3 (when closed) 74cm high, 90cm wide, 45cm deep.
Chippendale (Thomas). The Gentleman and Cabinet-Maker's Director: Being a large collection of the most elegant and useful designs of household furniture, 3rd edition, Batsford, 1910, numerous monochrome plates, some light spotting to endpapers, guttering strengthened with brown cloth, contemporary half calf to marbled boards, boards and spine rubbed, folio, together with Latham (Charles), In English Homes..., volumes 1-3, Country Life, 1904-09, numerous monochrome plates, all edges gilt, bookplates to front pastedowns, some minor spotting, uniform original blue cloth, spines slightly rubbed to head and foot, folio, and Macquoid (Percy, & Edwards, Ralph), The Dictionary of English Furniture..., volumes 1-3, Country Life, 1924-27, numerous colour and monochrome plates, bookplates to front endpapers, uniform original green cloth in dust jackets, covers slightly spotted, some loss to spines, folio, plus other early 20th century and modern furniture and interior decor reference, including Furniture History, The Journal of The Furniture History Society, 38 volumes, 1965-99, plus Indexes, mostly original cloth, many in dust jackets, G/VG, 8vo/folio (approx. 100)
A small reproduction hardwood Chippendale revival side cabinet, the upper section with broken swan neck pediment and blind fret frieze over a pair of slender astragal glazed panelled doors revealing a lined interior, raised on a stand, fitted with an arrangement of three frieze drawers with pierced apron and claw and ball supports
CHIPPENDALE STYLE MAHOGANY DINING CHAIRwith a carved splat above a floral tapestry seat, standing on plain straight supports united by a stretcher; together with a William IV mahogany dining chair with a Sheraton style square frame above a drop in seat, standing on turned front supports united by an X stretcher (2)

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