LATE 19TH C. MAHOGANY CHEST, GATELEG TABLE & CHAIRS, the chest north country or Scottish, fitted five drawers, 125h x 128w x 54cms d, the mahogany gateleg table 150w x 106cms d, the four Queen Anne style dining chairs stained beech, and with green dropin seat (6)Provenance: private collection GwentComments: chest slightly faded, several handle collars damaged, foliate appliques damaged, lacks feet, rear panel loose; table good, solid and heavy; one chair frame loose
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CHINESE HARDWOOD & MOTHER OF PEARL INLAID ARMCHAIR, grey veined marble inset back flanked by pierced and inlaid folite splats and panelled arms, 102h x 66w x 52cms d; together with two additional arms and an arm panel from other chairs similar (4)Provenance: collected c. 1920s in Malaysia, thence by descent private collection South Wales.Comments: arms and back loose, seat frame cleaned, seat panel replaced with dark perspex (lately used as a table), inspection advised
A William IV or early Victorian 'Antiquarian' yew wood centre table of large proportions1830-1845, possibly after a design by Thomas WillementThe circular segmented radiating veneered top with a twin ebony and boxwood strung border and an ogee moulded edge, on three spiral twist turned columnar supports, the concave tripartite base carved with a gadrooned edge and surmounted to the centre by an egg-and-leaf moulded baluster urn finial, terminating in hipped scrolled acanthus, beaded and foliate carved S-scroll form feet with recessed ceramic castors, approximate diameter of the top: 162cm; approximate height: 73.5cm.Footnotes:An early Victorian walnut and ash centre table attributed to Thomas Willement (1786-1871), which is of similar design to the offered lot and has closely comparable spiral twist turned legs, sold The Pedestal, 24 April 2018, Fine Furniture and Objects, lot 199. Willement is renowned for his furniture, wallpaper, panelling and stained glass designs which were directly influenced by the medieval and English Renaissance periods. Another related table, also attributed to Willement, albeit one of rectangular outline, appears illustrated in Signed and Designed II, the Origin of Ornament, the Country Seat catalogue, p.2. In this Country Seat catalogue it is noted that this 'Antiquarian' style (or perhaps more accurately movement) arguably found most favour at two specific English country houses during the mid 19th century. These are Charlecote, Warwickshire, where Willement was employed for a time, and Mamhead, in Devon. For more information on the origins of this style one must refer to O. Jones, 'Grammar of Ornament', Elizabethan No. 1, pl. LXXXIII, along with the text written by J.B. Waring which accompanies it.Another major figure closely associated with 'Antiquarianism', and who worked during the same period of 1830-1850 was Richard Bridgens (1785-1846). Furthermore, a burr elm and elm oval table with a marquetry top, which is defined as being 'in the manner of Bridgens' and has almost identical large scale spiral twist turned legs, sold Christie's, London, 7 May 2008, Fasque: the Scottish Seat of the Gladstones, lot 138.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
A George II walnut armchair1750-1755, either made by the firm of Wright and Elwick or executed by Paul SaundersThe shaped beaded and scrolled acanthus wrapped toprail carved with a central sunflower head, with volute scrolled and acanthus clasped arms, above a shaped, foliate scroll carved and channelled seat frame centred by a shell and acanthus spray, on bellflower pendant, scrolled and foliate adorned cabriole legs terminating in scroll feet, with an old metal plaque which reads: 'ANTIQUE FURNITURE FROM NORMAN ADAMS LTD., 8-10 Hans Road, London, SW3', approximately: 71cm wide x 74cm deep x 96cm high, (27 1/2in wide x 29in deep x 37 1/2in high)Footnotes:ProvenanceThe present lot was previously with Norman Adams Ltd., most likely during the 1970s and also into the early 1980s, from which period the metal plaque applied to its seat rail appears to date.The same model of chair sold Christie's, New York, 25 October 1986, Fine English and Continental Furniture, lot 54. Much more recently, an identical pair of these chairs (possibly part of the same set originally as the offered example) sold Christie's, London, 20 May 2021, The Collector, lot 32. It seems highly probable that the partnership of Wright and Elwick, active from 1748 and based in Wakefield, West Yorkshire, was responsible for the making of the present chair. Also it is interesting to note that Richard Wright, who formed one half of this impressive duo, had earlier on worked alongside Paul Saunders (1722-1771). The latter of whom was one of the most significant cabinet makers (and notably chair makers) who flourished in England during the 1750s and 1760s. Saunders also served as Tapestry Maker to His Majesty the King, whilst being based at 'The Royal Soho Manufactory, Soho Square'. During the early part of his career he operated with George Smith Bradshaw (1717-1812), who was then much like a business partner of his. Together they took over, circa 1755, the workshop of William Bradshaw, which was based at 59 Greek Street, also in Soho, and at the same time acquired the stock and pattern books already there. As a consequence of this, there are many similarities among the contemporaneous design elements and motifs employed by Wright and Elwick, Saunders and indeed Bradshaw as well.An example of this shared visual vocabulary is the acanthus carving to the legs of the above chair which appears, albeit slightly varied upon each individual model, on seat furniture produced by all three of the aforementioned makers. These include; a set of four armchairs with tapestry upholstery which were evidently provided for Chesterfield House, London by Bradshaw but are today housed at the Metropolitan Museum of Art, New York, and which feature in G. Beard, Furniture Maker and Tapestry Weaver Metropolitan Museum Journal, Vol.37, 2002, p.168, fig. 1; two sets of dining chairs (1755-1758) made by Saunders on behalf of the 1st Earl of Leicester at Holkham Hall, Norfolk, illustrated in A. Coleridge, Some Mid-Georgian Cabinet-Makers at Holkham, Apollo, February 1964, fig.'s 1 and 2; and a group of twelve chairs most likely supplied by Wright and Elwick to Nostell Priory, Yorkshire, National Trust, NT 959745.The Nostell Priory variant of this type, which was seemingly devised and executed by Wright and Elwick, incorporates a very similar carved cartouche to that appearing on the seat frame of the offered chair. Further to this, the present lot relates to a group of dining chairs, also believed to have been provided by this same firm, albeit for Kippax Park, Yorkshire. The latter appear in M. Harris and Sons, The English Chair, London, 1946, pl. LI, p. 123. All of this lends serious weight to the view that the above is a production of the renowned Wakefield business.Additional seat furniture of this closely comparable design was previously located at Swaines Hill Manor, Hampshire. Whilst a pair of armchairs together with a sofa from this suite, which had formed part of the collection of the late Marjorie Wiggin Prescott, Belle Haven, Greenwich, Connecticut, sold Christie's, New York, 31 January 1981, lot 354. Subsequently, the same sofa sold Christie's, London, 11 May-1 June 2020, lot 108. These notable pieces feature in R. Edwards, C. Claxton-Stevens and S. Whittington, 18th Century English Furniture, The Norman Adams Collection, 1983, Woodbridge, pp.'s 38 & 39. It is possible that the present lot is indeed the exact same armchair which is illustrated therein.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
SANTOS-DUMONT ALBERTO: (1873-1932) Brazilian pioneer aviator. An excellent, bold dark fountain pen ink signature ('A. Santos=Dumont') and date, 3rd February 1911, in his hand on a small 4to page removed from an autograph album. Neatly affixed immediately above the signature is a fine original 5 x 3.5 photograph of the Santos-Dumont Demoiselle aircraft in flight over a tree-lined field. A few very light, minor stains, not affecting the signature or photograph. About VG The Santos-Dumont Demoiselle, which consolidated the Brazilian's role in the birth of aviation in the 20th century, was a light-weight monoplane with a wire-braced wing mounted above an open-framework fuselage built from bamboo. The pilot's seat was below the wing and between the main wheels of the undercarriage. The Demoiselle was the last aircraft built by Santos-Dumont and the French pioneer aviator Roland Garros learned to fly in the Demoiselle, later flying one at Belmont Park, New York, in 1910.
Hofland (Barbara Hoole) A Descriptive Account of the Mansion and Gardens of White-Knights, a Seat of His Grace the Duke of Marlborough, large paper copy, 8 aquatint and 15 etched plates after T.C.Hofland, all on india paper and mounted, all hand-coloured, tissue guards, some light foxing to plate mounts and text towards end, original half parchment over drab boards, roan label to spine, uncut, a little worn, spine defective at head and worn at foot, spine and some patches to boards repaired, [Abbey, Scenery 425, ordinary paper; Tooley 268], folio (435 x 330mm.), privately printed for the Duke of Marlborough, [1819].⁂ Scarce large paper copy with all the plates on india paper and all hand-coloured rather than just the 8 aquatints. Tooley describes it as "extremely rare in this state".Whiteknights, near Reading, was a seat of the Marquis of Blandford (later 5th Duke of Marlborough) who entertained there lavishly. As well as a magnificent library and collection of paintings the estate was renowned for its gardens, full of rare and unusual plants. In 1819 the Duke went bankrupt and retired to Blenheim, causing the estate and contents to be sold off and the house demolished. This work, commissioned but not paid for by the Marquis, almost bankrupted the Hoflands as well.
TWO SIMILAR LATE GEORGE III MAHOGANY ARMCHAIRSincluding a Sheraton style armchair with a filled fan back over a serpentine seat, on tapered block legs, 93cm high x 61cm wide, together with a French Hepplewhite mahogany armchair, with padded back and seat, on slender cabriole legs, 95cm high x 61cm wide (2)
A MID CENTURY STYLE 'SOREN' DESK BY JOHN LEWISwith inset leatherette writing surface, two drawers to one side, on tapered legs joined by stretchers, 77cm high x 135cm wide x 65cm deep, together with the 'Soren' office chair, the cushioned back and seat on a rotating base, 81cm high x 63cm wide (2)
(Holkham Hall, Norfolk, Guidebooks.) 'New description of Holkham, the magnificent seat of T.W. Coke, Esq. M.P : containing a full and accurate account of the paintings, statues, tapestry, &c. : with a picturesque tour of the gardens and park : embellished with a view of the south front.', Wells-Next-The-Sea, H. Neville, 1835, folding lithograph view of Holkham Hall from South frontispiece, iv,78pp, contemporary cloth. Scarce
A set of eight George III style carved mahogany dining chairs in the Chippendale taste, first half 20th Century, with decorative cupids bow top rails and pierced splats, drop-in seats upholstered in brown leather, the undersides of back seat rails stamped 'Y1335', raised on ball and claw feet, (includes two carvers), 57 x 50 x 100cm high.
A.H.McIntosh of Kirkcaldy: A mid-Century rosewood extending dining table and chairs, the table of rectangular form opening to reveal two further leaves within raised on tapering supports, makers mark to the leaf , 160 x 90 x 75cm high, the chairs comprising of one carver and five regular chairs, with curved backrest and cushioned panel seat upholstered in textured tan fabric raised on upright tapering supports united by peripheral stretchers, 54 x 50 x 80cm high, makers stamp to the underside, chair No 9513.CITES certificate no. 23GBA105BF1EF.
An oak Wainscot chair, probably 17th Century, with open scroll end arms, solid seat, plain single panel back, simple carved detailing, raised on turned legs and block feet joined by peripheral stretchers, 58 x 63 x 115cms high; and an 18th Century provincial oak solid seat elbow chair, 61 x 56 x 105cms high. (2)
A pair of Napoleon III giltwood slipper chairs in the Chinese taste, the cushioned top rail over a decorative pierced geometric splat, the uprights carved dragon heads, the cushioned seat upholstered in floral tapestry fabric, pierced apron raised on oriental style supports, 50 x 47 x 77cm high, seat height 41cm high.
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216995 item(s)/page