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Lot 310
A George III mahogany chest on chest, circa 1790, in the manner of Thomas Chippendale, moulded dental cornice on inverted arch frieze, above two short and two long drawers on a fall front secretaire, enclosing an arrangement of pigeonholes, interior drawers and small cupboard, upper section flanked by quarter fluted pilasters canted corners, moulded fitted on three gradual drawers with foliage back swan neck brass handles and brass keyholes, raised on carved ogee feet. 179cm H x 112cm W x 51cm D
Lot 100
A GEORGE III SERVING TABLE CIRCA 1780 IN MANNER OF THOMAS CHIPPENDALE, Chinese gothic design with later applied top above a carved fret frieze raised on four square chamfered blind fret legs with C scroll angles. Condition report:Several losses to fret and feet. There are two missing pieces from a leg present (see photos) and a small piece of fretwork. Top is later and is not original to the rest of the table.
Lot 23
A rare Chippendale oval carved and gilded pine looking glass, Probably English, circa 1760-1780The frame intricately carved with scrolls, flowers, and leafage, the top centered by latticework flower basket cartouche. (H: 50 in. W: 30 in.)ProvenanceBy tradition, this mirror was owned by Charles Hillyard III, and formerly hung in the home he designed and built circa 1798, "Woodburn" in Wilmington, Delaware, what is now known as Delaware Governor's Mansion.Ginsburg & Levy, Inc., New York.Ex. Collection of Edgar and Bernice Chrysler Garbisch.Sotheby Parke Bernet Inc., The Garbisch Collection, sale of May 24, 1980, lot 1146.Acquired directly from the above sale.G. Randall Inc., Fine Antiques and Works of Art, Alexandria, Virginia.Acquired directly from the above in 1984.Collection of Alan I. and Dianne Kay, Bethesda, Maryland.The Estate of Alan I. and Dianne Kay, Bethesda, Maryland.Mirror plate appears to be old, likely original.To receive a condition report, additional images or for any other information, please email Andrew Taggart at ataggart@freemansauction.com
Lot 894
Edwardian novelty silver pin cushion in the form of a Chippendale style chair, maker Levi and Salaman, Birmingham hallmarked with date mark indistinct but possibly 1901, 57mm high; together with a Victorian novelty silver chair pin cushion, maker Lawrence Emanuel, Birmingham 1891, 49mm high (2)
Lot 12
William Morris (1834-1896) for Morris & CoPair of 'Tulip and Rose' pattern hangings, design registered 1876Woven woollen 3-ply cloth, later-applied rope braidingUnsignedPanel 1: 190cm x 72cm, panel 2: 190cm x 69cm.ProvenanceThe property of John Kenworthy-Browne FSAJohn Kenworthy-Browne is an art historian specialising in architecture and sculpture, principally from the neoclassical period. He was educated at Ampleforth College and Wadham College, Oxford, followed by the Courtauld Institute in London. John was the first National Trust curator at Dyrham Park, Gloucestershire, which he opened to the public in 1961. The Queen Mother visited Dyrham on 16th March 1962, and she was pictured with him outside the Assembly Rooms during the visit. After his time at Dyrham, John joined Christie’s where he catalogued furniture, and it was at Christie’s that he first became fascinated with sculpture. John has published numerous articles in Apollo, Burlington Magazine, The British Art Journal, Sculpture Journal and Country Life. He wrote the sculpture entries for The Age of Neo-Classicism Exhibition in 1972. He also published Chippendale and his Contemporaries (1975), and he was the co-author of Three Centuries of Furniture (1972) and The Country House Guide (1979). His work on a publication on the British sculptor Joseph Nollekens was cut short by an accident, and it is for John’s care that the present lot is being sold. LiteratureLinda Parry, William Morris Textiles, 1983, page 148 catalogue number 12 for an example in a different colour scheme.FootnoteSimilar panel held at the Cooper Hewitt, Smithsonian Design Museum, New York.
Lot 31
A cased set of six George V silver gilt and enamel coffee spoons , Mappin & Webb, Birmingham 1929, each terminal modelled as a flowerhead decorated in blue, yellow, green and white enamels, each 9.2cm long, together with a silver waiter, J B Chatterley & Sons Ltd, Birmingham 1979, circular form with Chippendale border on three scroll feet, 15.7cm wide, and a pair of George V silver mounted candlesticks, Jones & Crompton, Birmingham 1915, each 14.5cm (at fault) gross weight (excluding candlesticks) 6.81ozt (9) Condition reports: The enamel of the coffee spoons is chipped to all, and lacking along the stem of the handle - see images. Case of spoons with blemishes to leather. Silver waiter has concentric scratches to underside. Candlesticks heavily dented, scratched, split and tarnished.
Lot 85
A George VI silver presentation salver, Ernest W Haywood, Birmingham 1947, of circular form with Chippendale border on four raised pad feet, with central inscription reading ‘Presented to George Higgs Esq. by his colleagues as a token of our esteem and affection and to also commemorate the signal honour conferred upon him by his Majesty King George VI, January 21st 1949’, surrounded by twelve signatures, 35cm diameter, weight 36.64ozt
Lot 230
A George III Mahogany Chippendale-Style Straight-Front Chest of Drawers, 3rd quarter 18th century, the crossbanded and moulded top above a pull-out brushing slide and two short over three oak-lined graduated drawers with later brasses, all between blind fret carved canted stiles, on moulded bracket feet90cm by 51cm by 87cm
Lot 286
A Set of Eight (6+2) Chippendale Revival Carved Mahogany Dining Chairs, circa 1900, covered in green leather, the C scroll top rails above pierced and carved splats, the overstuffed seats on acanthus-carved cabriole forelegs with paw feetsingles 60cm by 52cm by 97cmcarvers 64cm by 48cm by 98cm
Lot 364
A Pair of George III Chippendale-Style Carved Mahogany Open Armchairs, early 20th century, covered in duck egg blue and gold silk fabric, with moulded and scrolled arm supports above a close-nailed serpentine seat and carved seat rail, on acanthus carved cabriole forelegs with scrolled toes68cm by 60cm by 92cm
Lot 275
A Set of Eight (6+2) Chippendale-Style Carved Mahogany Dining Chairs, 19th/early 20th century, covered in green and blue velvet, the flowerbell-carved frames with C scroll interlaced splats above overstuffed seats, on acanthus-carved cabriole forelegs with claw feetsingles 65cm by 61cm by 88cmcarvers 60cm by 70cm by 88cm
Lot 271
A Set of Eight (6+2) Chippendale-Style Mahogany and Marquetry-Inlaid Dining Chairs, early 20th century, with brown leather drop-in seats, the scrolled top rails above ribbon and acanthus-decorated pierced splats, the moulded seat rails on cabriole forelegs with claw and ball feetsingles 56cm by 50cm by 104cmcarvers 67cm by 50cm by 107cm
Lot 2021
A George III Chippendale period mahogany elbow chair with a finely carved and pierced splat back, height 96cm, width 63cm. Provenance: the property of Michael Godfrey.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2032
A pair of George III Chippendale period mahogany carved and pierced splat back dining chairs with drop-in needlework seats, height 95cm, width 53cm. Provenance: the property of Michael Godfrey.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2076
A pair of George III mahogany arched back dining chairs with pierced splats and shaped seats, height 96cm, width 56cm, together with a George III Chippendale period mahogany dining chair with a yellow damask drop-in seat, height 95cm, width 54cm. Provenance: the property of Donald Church.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2047
A George III Chippendale period figured mahogany hanging corner cabinet, the blind fretwork frieze above a pair of doors enclosing a dark green painted interior, height 116cm, width 87cm. Provenance: the property of Michael Godfrey.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2046
A set of four George III Chippendale period mahogany pierced splat back dining chairs, the drop-in seats covered in polychrome needlework, height 95cm, width 54cm. Provenance: the property of Michael Godfrey.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2042
A George III Chippendale period mahogany dining chair, the finely carved Gothic tracery back above an overstuffed seat, height 97cm, width 56cm. Provenance: the property of Michael Godfrey.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2013
A George III Chinese Chippendale style mahogany stool, the overstuffed blue fabric seat on blind fretwork legs and pierced stretchers, height 50cm, width 57cm, depth 48cm. Provenance: the property of Michael Godfrey.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 53
A George III Carved Mahogany Settee Attributed to Thomas Chippendale, Circa 1775Height 38 x length 86 1/2 x depth 34 inches.This lot is located in Chicago.Provenance:Pauline Stanbury Woolworth (1906-1994);Sotheby's, New York, Important English Furniture and Decorations, 13 October 1994, Lot 354 (with invoice and catalog)Note:This settee" form and ornament relates closely to those found on documented Chippendale commissions from the 1770s. Although the distinctive curved handholds to the arms are one of his most common features on seat furniture, the design on the arm supports and the legs are both identical to bergeres which were part of the suite supplied to the actor David Garrick (1717-1779) for his London townhouse on Adelphi terrace in 1772 (C. Gilbert, The Life and Work of Thomas Chippendale Vol. II, London, 1978, p. 98, fig. 160). Re-blocked, with areas of re-inforcement around the back of the frame. Re-gluing at the joints where the tops of the legs meet the frame. Frame has been sprung and webbed; we are unable to examine the underside in its entirety. Proper right middle front leg is slightly loose. The Proper right middle back leg has been off and put back on; it has a split through its foot. Repairs to the guilloche border above the legs. Repair to the proper left arm terminal with faintly visible cracks and a small amount of glue residue. Faint "scarring" from old upholstery tacks on the narrow strip of mahogany surrounding the arm paddings. Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
Lot 75
A Pair of George II Giltwood Mirrors After a Design by Thomas Johnson, Circa 1765together with four Chinese blue and white porcelain pots from the Vung Tau Cargo.Height 51 3/8 x width 33 3/8 inches.This lot is located in Chicago.Provenance:Hotspur Ltd., London, 21 January 1994 (with invoice)Note:The published designs of the Soho carver Thomas Johnson (1714-1778) were a seminal influence in disseminating the Rococo taste in England. Both Twelve Girandoles from 1750 and A New Book of Ornament in 1758 depict naturalistic, almost fanciful designs that often featured Chinamen and animals inspired by Aesop" Fables. Even the renowned cabinet-maker Thomas Chippendale paid homage to Johnson" creative genius as he credits him with several Rococo designs in the Third Edition of the Director. These mirrors closely correspond to the center design of a mirror illustrated on page 65 of One Hundred and Fifty New Designs published in 1761 (reproduced here). Although no specific documented commissions by Johnson have been found, he is known to have supplied mirrors in the early 1760s to Paul Methuen of Corsham Court, Wiltshire and the Duke of Atholl at Blair Castle, Perthshire.One mirror with part of an old label reading "LORD F." Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
Lot 57
A Pair of George III Carved Giltwood ArmchairsAttributed to Thomas Chippendale, Circa 1775Height 37 1/4 x width 26 5/8 inches.This lot is located in Chicago.Provenance:Probably part of the suite supplied to Prince William Henry, Duke of Gloucester (1745-1805)Phillips, London, Fine English and Continental Furniture, Carpets, Tapestries and Works of Art, 9 February 1999, Lot 98 (with catalog)James Hepworth, London, 1999 (with copy of invoice)Note:This pair of armchairs are probably part of the only known Royal commission executed by Thomas Chippendale. It originally consisted of a set of eight armchairs and two sofas followed by the later addition of thirteen side chairs and two bergeres probably supplied to Prince William Henry, Duke of Gloucester (1743-1805), younger brother of George III. Two armchairs, seven side chairs, the sofas and the bergeres remain in the Royal Collection and are at Clarence House, London (RCIN 100201, RCIN 100202, RCIN 100204, RCIN 100205).Although no specific records have surfaced in the Royal Archives, a surviving portion of the Duke of Gloucester" bank account from 1764-1766 details payments to Chippendale that totaled £134 15s 6d. Though this date is too early to refer to this suite, it does confirm a pre-existing relationship. This commission is very likely the one Chippendale mentions in his 1767 letter to Sir Roland Winn in the apparently universal way of all craftsmen rationalizing why their work was delayed as he writes he…'had a great quantity of business…mostly for the Royal Family' (A. Bowett and J. Lomax, Thomas Chippendale 1718-1779 A Celebration of Craftsmanship and Design, Catalogue of the Tercentenary Exhibition, Leeds City Museum, 2018, p. 130).Stylistically, the chairs reflect the French fashioned chairs supplied to Chippendale" documented commissions from the early 1770s. Although the distinctive arched handholds were almost a leitmotif for Chippendale chairs, the armchairs in the set of seat furniture supplied to Sir Penistone Lamb for the Saloon at Brocket Hall around 1773 are the most closely related to the present lot, featuring guilloche backs surmounted with a medallion and a laurel leaf carved apron (C. Gilbert, The Life and Work of Thomas Chippendale Vol. II, London, 1978, p. 109, fig. 186). The dispersal of this suite from the Duke of Gloucester presumably occurred after his death in 1805 when his estate went to his two children, William Frederick and Sophia Matilda. The part of the suite in the Royal Collection presumably went to George IV as they have his inventory brand. As the other three pairs of chairs are not accounted for in the entries for the suite at the Royal Collection, they were presumably kept by Gloucester" descendants, fulfilling his command to bequeath his property to 'share and share alike.' Another pair of identical armchairs also lacking the inventory brand and presumably from this original set were sold anonymously at Sotheby", London, 27 September 2012, lot 135 (£73,250); the whereabouts of the remaining pair is currently unknown.Seat height 18 1/4 inches. Re-gilt. One chair re-blocked for stability. There are very faint differences in the proportion of the decoration and in the carving between the legs of both chairs (probably worked on by different carvers). The differences would not be noticeable when placed in a room, and the differences are not nearly as pronounced as on Lot 56. The pair are clearly a matching pair made as part of the same set. A few small areas of flaking gilding revealing gesso and bare wood. Ribbons on crest rails appear to be intact. Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
Lot 58
A George III Satinwood, Tulipwood and Amaranth Marquetry Fall-Front SecretaireAttributed to Thomas Chippendale, Circa 1775Height 49 3/8 x width 31 1/8 x depth 16 inches.Provenance:Mallett Ltd., London (with memorandum)Note:This secretaire, with its elegant, restrained Neoclassical marquetry occupies a rare, if not unique position in Chippendale" oeuvre. Not only is it directly based on a French secretaire a abattant, a form seldom seen in English furniture, it is one of a pair which were presumably supplied to an unknown patron. Although French furniture designs had been an enduring source of inspiration for English cabinet-makers, so much so their drawings became known as the 'French Taste', few were copied directly and were almost always the work of French trained emigires such as Pierre Langlois (1718-1767) or Christopher Furlohg (1740-1787).This secretaire and its pair are part of a distinct group of closely related secretaires attributed to Thomas Chippendale. Unlike most of his 'French' furniture, they are the rare occasion where a distinctly French form is kept intact and used as a backdrop for Chippendale" creativity and ingenuity. Their prototype were the two secretaires supplied to Edwin Lascelles for two rooms in the State Apartments at Harewood House, Yorkshire from 1772-1773 and are the richest examples of this form. One, now in the collection of Temple Newsam, Leeds, was part of a suite of black lacquer and japanned furniture for the State Bedroom. It appears on Chippendale" 12 November 1773 invoice as 'a Lady" Secretary veneer'd with your own Japann with additions of Carved Ornaments…the front of the secretary to rise with balance weights.' The second, inlaid with marquetry against a satinwood ground, was supplied to the State Dressing Room and remains at Harewood (J. Sellers, ed., The Art of Thomas Chippendale, Master Furniture Maker, Leeds, 2000, p. 30).Chippendale" mention of the secretary" balance weight mechanism is particularly relevant as it was his own invention and allowed for the seamless rising and falling of the fall front. Hidden within the construction of the case, it allowed the writing surface to appear as if it was suspended in the air with no distracting brackets. This secretaire as well as the others in the group have this unique feature. Other constructional hallmarks of Chippendale" workshop are the hardware used on the drawers whose construction bears the typical finely executed details such as the mitered corners to the undersides, the triangular stoppers to the interior of the carcass for the drawers and the distinctive red wash visible in areas on the case.In addition to the present lot" pair, which was sold anonymously at Sotheby", London, 16 December 1990, lot 345 (£35,200 including premium), the other secretaires of this group display only minor variations. They have the same richly figured satinwood ground, Neoclassical marquetry central medallions punctuated by rosettes in the incurved corners, a single lower door and apparently identical interiors. They comprise: (1) A virtually identical example with square tapering legs from Lady Frye, Oare House, Wiltshire sold Christie", London, 21 April 1966, lot 68 and most recently sold from the collection of Zeinab and Pierre Marcie Riviere, Christie", Paris, 8 June 2016, lot 185 ($50,065 including premium).(2) Another with ebonized pilasters and square tapering legs supplied to William Windham (1708-1789) for Earsham Hall, Norfolk (Ronald Phillips, The Legacy of Thomas Chippendale, Exhibition Catalogue, 2018, no. 19, pp. 89-93). (3) One with marquetry fan medallions and identical legs to the present lot sold anonymously (Property of a Lady) at Christie", New York, 20 January 1996, lot 335 ($34,500 including premium).Overall well-conserved, original condition, with noticeable sun-fading and an orangey color. Typical cracking and infill to the veneers; some minor areas of lifting veneer / repaired fraying veneer. The top with a narrow shrinkage crack. The front of the fall-front with some darkened overpainting from repair to lifting veneers. A veneer repair in the bottom right corner of the fall-front. Faint traces of the original green heightening to the urns, a bit more visible on the lower urn. A shrinkage crack emerging now in the lower cabinet door running right below the medallion. The rosettes have lost much of their penwork and color heightening. Repairs to some of the stringing on the outside of the writing surface. The interior with a later tooled leather writing surface, and one or two of the small drawer liners with replaced parts of their lining. The proper left front foot probably re-stuck, with replaced molding around its top. The proper right front top corner molding has been re-glued. The lock has probably been taken out and put back but is original. The pulls are original. Pine backboards. Pointed drawer stops on the inside. With one key.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
Lot 65
A George III Mahogany, Padouk and Amboyna Pembroke TableCirca 1775opening to a fitted mahogany-lined interior.Height 28 1/2 x width (closed) 22 7/8 x depth 27 inches.This lot is located in Chicago.Provenance:Hotspur Ltd., London, 2 February 2002 (with invoice)Note:The sophisticated combination of exotic timbers, refined proportions and use of mahogany to line the drawers indicate this pembroke table was the product of one of London" finest cabinet-makers during the height of 'French fashioned' designs in the 1770s. Potential candidates could be Thomas Chippendale (1718-1779) who supplied a related lady" writing table to Nostell Priory in 1767 (NT 959738) and whose work also features the same distinctive pattern to the legs. John Cobb (d. 1778) is also a possibility as he was renowned for his refined French fashioned tables that incorporated highly figured exotic timbers.With key and original leather casters. A peg repair at one edge to stabilize a crack. A small section of missing veneer from one band of the top. Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
Lot 66
A George III 'Lac Bergaute' and Black and Gilt-Japanned Secretaire Cabinet-on-StandCirca 1765, Incorporating 17th Century Chinese Lacquer PanelsHeight overall 61 x width 26 x depth 18 1/4 inches.This lot is located in Chicago.Provenance:Sir Phillip Sassoon, Bt., Trent Park, Hertfordshire, recorded in Sir Philip's bedroom in 1939;Christie's, London, Works of Art from Collections of The Cholmondeley Family and the Late Sir Philip Sassoon, Bt. from Houghton, 8 December 1994, Lot 117 (with catalog)James Hepworth, London, 5 June 1996 (with copy invoice)Literature:C. Hussey, "Japanned Furniture at Trent Park," Country Life, 18 October 1930, p. 498, fig. 4P. Macquoid and R. Edwards, The Dictionary of English Furniture, London, rev. ed., 1954, Vol. I, p. 85, fig. 43R. Edwards, The Shorter Dictionary of English Furniture, London, 1964, p. 101, fig. 30Note:With its 17th century Chinese lacquer panels lushly inset with mother of pearl, this elegant secretaire epitomizes the height of the English fascination with the East popularized by the designs in Thomas Chippendale" The Gentleman and Cabinet-Maker" Director, 1754-1763. Their frequent combination of Chinese elements within an at times blinding array of naturalistic and Classical forms served as inspiration and a creative ideal. Elements from Chippendale" designs, such as the fretwork seen on the legs of the present lot, depicted in China Shelves (plate CLXI) and the Chinese Cabinet (plate CXXIII) from 1761, were likely drawn upon by this as yet unknown cabinet-maker. The secretaire's sophisticated melange of Chinese and Western ornament, and particularly its use of lac bergaute, an incredibly rare and expensive form of Chinese lacquer, indicates it was almost certainly a specific commission by an unknown aristocratic patron similar to the 4th Duke of Badminton (1704-1759). His Chinoiserie bedroom apartment at Badminton, Gloucestershire, which was supplied by William and John Linnell in the 1750s has two related japanned china cabinets which show yet another interpretation of this all-encompassing aesthetic (H. Hayward, William and John Linnell, London, 1980, fig. 218).The descendant of two prominent Jewish banking families, the Sassoons and the Rothschilds, politician, patron and connoisseur Sir Phillip Sassoon (1888-1939) was at home in the highest aristocratic circles. Sassoon" aesthetic eye saw the potential of Trent Park, an unremarkable house with grounds designed by the pre-eminent 19th century landscape architect Humphry Repton (1752-1818) and hired the architect Philip Tilden (1887-1956) to transform the house into a Georgian mansion worthy of this setting. The eminent British architectural historian Christopher Hussey (1899-1970) said that Sassoon captured "that indefinable and elusive quality, the spirit of a country house... an essence of cool, flowery, chintzy, elegant, unobtrusive rooms that rises in the mind when we are thinking of country houses." Trent Park and its grounds were documented in the 18 October 1930 issue of Country Life. After Sassoon" death, this cabinet and other works from his collection went to Houghton, the home of his sister Sybil, Marchioness of Cholmondeley (1894-1989).Photo Credit: Japanned Cabinet, Trent Park from Country Life, 18 October 1930: Future Publishing Ltd.Overall well-conserved, original condition. The writing surface slightly bowed. The decoration throughouot is vivid and largely intact. Part of the upper section's gallery and one of its decorative fretwork brackets at the front have been minimally repaired after minor damage sustained in moving. One drawer bottom with a pencil inscribed inventory number 2,2,3,4,56. Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
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