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Lot 860
A 19th Century Continental Mahogany Armoire having single panel door enclosing shelf and hanging, flanked by 2 half round corinthian column supports, with further panelled door below having brass inlaid decoration enclosing 4 long graduated drawers with drop brass handles, on square feet, 97cm wide, 48cm deep, 2m 3cm high
Lot 469
A late 18th/early 19th Century oak dresser, with mahogany cross banding, the rack with undulating frieze over shelf and two fielded panel cupboard doors flanking two curved shelves, the moulded edged top with cross banding over three deep drawers, replaced brass loop handles, undulating frieze, on cabriole front legs and pad feet, 79 1/2" high x 78" wide x 19 1/2" deep (illustrated).
Lot 578
A LATE VICTORIAN/EARLY EDWARDIAN INLAID ROSEWOOD CABINET, the raised back with swan neck pediment and a single shelf over a bevelled mirror, the cabinet with a single door, inlaid with classical ornamental flowers, griffin and swags over a plain glass panel, on tapered legs, 132cms high x 56cms wide
Lot 594
A VICTORIAN OAK HALL STAND having a galleried and moulded surmount above a protruding drying rail, the central rectangular bevelled mirror plate flanked by open sections, carved panels and hooks, over a moulded rectangular top with drawer below, flanked by galleried stick or umbrella apertures, all raised on well turned supports linked by an under-shelf. 37cm x 152cm x 232cm
Lot 606
AN ARTS AND CRAFTS MIRROR-BACK SIDEBOARD having a humped back above a shaped shelf on turned supports, the rectangular bevelled mirror plate flanked by coppered panels moulded with stylized floral motifs, the moulded rectangular top above two frieze drawers with two further central drawers and open section below, flanked by panelled cupboard doors, raised on step moulded square feet. 59cm x 153cm x 182cm
Lot 500
A George IV rosewood cabinet, the moulded edge Carrara marble top above a frieze drawer and a panelled door inset a gilt brass grille with pleated fabric back, enclosing an adjustable shelf, on carved giltwood paw front feet, 33in (84cm) h, 25in (63cm) w, 19.5in (49.5cm) d. Top possibly associated and back feet replaced.
Lot 304
DANIEL COTTIER (1838-1891) FOR COTTIER & CO. (ATTRIB.) SIDE CABINET, CIRCA 1880 painted and ebonised wood with gilt embellishments, the Japanese fretwork cornice above a cushion frieze painted with anthemion, above an open shelf backed with panels painted with apples and pomegranates, over two glazed doors and mirrored back, the base with mon-painted frieze above twin panelled doors decorated with pears and lilies, with void below, the side panels decorated with anthemion designs 97cm wide, 239cm high, 49cm deep Literature: Max Donnelly, ‘Cottier and Company, Art Furniture Makers', The Magazine Antiques, June 2001. See pp. 916-925, fig. III for a cabinet of a similar form. Jeremy Cooper, Victorian and Edwardian Furniture and Interiors, Hong Kong, 1987, fig. 391. Note: Daniel Cottier began his career as a stained-glass artist in his native Glasgow, and in 1864 set up his own business as a designer in George Street, Edinburgh before moving back to Glasgow in 1867. As an independent designer Cottier was involved in decorating furniture as part of a unified scheme for a number of Presbyterian churches in Glasgow. With the establishment of the firm in London, Cottier took on a number of designers and artists, among them Bruce Talbert, who was briefly associated with the firm. In 1870 he set up a branch of 'Cottier & Co, Art Furniture Makers, Glass and Tile Painters' in London. This new venture was set up in partnership with the furniture and furnishings designer, Bruce Talbert. The joint expertise worked well and the firm thrived. Within three years it had opened new branches in the United States and Australia. Little is known about the specific contribution of artists to the making of furniture by Cottier & Co. One such decorator Frederick Vincent Hart also worked for other designers such as E.W. Godwin and this may explain the similarity between Godwin and Cottier furniture, leading to the misattribution of some Cottier furniture to Godwin.
Lot 308
H.W. BATLEY (ATTRIB.) FOR JAMES SHOOLBRED & CO HALL STAND, CIRCA 1880 brass-mounted oak, the panelled back with brass gallery to the upper shelf, bold cast brass flowerhead pattern finials and brass containing rail, turned uprights, the rectangular base inset with metal drip tray, on brass ogee bracket feet 100cm high
Lot 316
CHARLES FRANCIS ANNESLEY VOYSEY (1857-1941) TABLE SECRETAIRE, CIRCA 1900 oak and inlaid macassar ebony, the projecting moulded cornice above a tapered carcass with rectangular fall, with applied heart -shaped escutcheon, inlaid with three macassar panels, further inlaid in ivorine, stained gesso and mother of pearl and depicting birds and flowers, opening to reveal an interior fitted with pigeonholes and supported by brass stays with heart-shaped brackets, above an open shelf; cabinet comes with original key, the terminal worked as entwined hearts 45.5cm wide, 50cm high, 30.5cm deep Literature: John Brandon-Jones 'C.F.A. Voysey: architect and designer 1857-1941)', page 135, ref E5, E12, pages 67-74. Note: As a designer Voysey paid meticulous attention to detail, designing every aspect of a project whether architectural or in the design of a piece of furniture as with the current lot. His characteristic heart shaped motifs can be seen in the escutcheon, the brackets of the beautifully shaped stays on the fall and in the key which is wrought with four entwined hearts. The escutcheon was probably made by Thomas Elsley & Co of the Portland Metalworks whilst the key was likely to have been supplied by W. Bainbridge Reynolds. The simple, clean lines of the carcass are typical and hold true to his design ideals. In 1909 he stated ‘Simplicity in decoration is one of the most essential qualities without which no true richness is possible. To know where to stop and what not to do is a long way on the road to being a great decorator.’ More unusual perhaps are the macassar ebony panels which are inlaid with a depiction of his characteristic bird and flower motif and which lend to the piece a more luxurious quality
Lot 324
GEORGE WALTON (1867-1933) OCCASIONAL TABLE, CIRCA 1897. inlaid satin birch, to match the previous lot, the rectangular top with copper frame and glazed panel, above a sliding shelf and raised on a square section tapering legs linked by a lower tier 56cm wide x 82.5cm high x 41cm deep Note: This cabinet demonstrates characteristics of furniture produced for Elm Bank, York in 1897-8 by Walton & Co. when they were asked to furnish the house which had been designed by father and son architects W.G. and A. J. Penty. The brass-backed cut out handles are a regular feature of Walton furniture however it is thought that the bold inlaid banding owes its influence to the work of George Washington Jack who was designing inlaid furniture for Morris & Co around the same time. Literature; Pauline Agius 'British Furniture 1880-1905', Suffolk 1978, page 102, plate 125. Karen Moon 'George Walton: Designer and Architect', Oxford 1993, pages 64-70
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