A Regency Mahogany Extending Dining Table England circa 1805, attributed to Gillows of Lancaster, 139cm wide, 71cm high, 447cm deep A fine Regency mahogany extending dining table after the Gillow s design patent No 53, 1801-1805, having an ingenious device that enables the central board to swivel to a 90 degree angle, the table frame can be extended to take a further six leaves and two end leaves, all on a track system using brass sliders, the frieze having inlaid decoration, raised on eight reeded, tapering legs ending in brass castors. Two leaves of later date.
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An Early 19th Century Scagliola Table Italy circa 1830, depicting bucolic scene in muted tones, within a border of acorns and leaves, the ormolu base orignating from France, circa 1870, 77.5cm high A rare early 19th century scagliola top depicting a bucolic landscape scene of a village next to a lake in full summer with figures gathering wood, in a muted palate within a border of pearl decoration, surrounded by a wreath of acorn and oak leaves on a black background, supported on an ormolu gueridon base with leopard head terminals on scrolling acanthus supports, fluted legs and X frame supports, resting on paw feet.
A Parcel Gilt Regency Supper Table England circa 1810, of traditional form with a shelf for plates and a compartment for other accoutrements, the table is enriched with a polychrome coat of arms and gilt stringing on a black ground, standing on attenuated baluster column legs terminating in brass casters, 33cm wide, 66cm high, 56cm deep
A Late 18th Century Side Table Italy circa 1750, in the manner of Rivelli, the shaped top centred with a satinwood fan and large circular pater ae inset within a band of fruitwood above a shaped lambrequin frieze with stylised portrait medallions, 114cm wide, 82.2cm high, 49cm deep
A "Tarbo" Dark Blue Lacquer Low Table Italy circa 1970, supported by a chrome base of interlocking elements, the legs mounted with a collar of material matching the tops, 144cm wide, 46cm high, 41cm deep The initiators of the Neo-Liberty style were the Turin architects Roberto Gabetti (born 1925) and Aimaro d'Isola (born 1928), who were both pupils of Carlo Mollino at the Politecnico, Turin. In 1957, the architectural journal Casabella Continuita, edited by Ernesto Nathan Rogers and Vittorio Gregotti, published a number of works by Gabetti and d'Isola, including the influential Borsa Valori (1953) and Bottega d'Erasmo residential block (1953-1956), both in Turin. The ideas expressed by Gabetti and d'Isola were part of a general move away from the purist principles of the Modern Movement at that time, and, like many other architects, they continued to develop new approaches in their architecture in the 1960's and after.
A George III Specimen Wood Work Table England circa 1780, the specimen parquetry top having sixteen veneers of exotic woods including tulipwood, burr yew and zebra wood within a satinwood border with boxwood and ebony stringing, above a single mahogany drawer and square tapering legs with 'X' stretcher and ending in brass box castors, 38cm wide, 77cm high, 38cm deep
An Empire Mahogany Console Table France circa 1810, throughout the veneers are of the finest quality and figuring, the table has gilt bronze mounts on the centre of the frieze drawer and on the knee of the scroll front legs and at the feet, the table has a replacement portor marble top, 122cm wide, 94cm high, 50cm deep
A Satinwood and Mahogany Tray Table England circa 1790, veneered in satinwood with central mahogany oval panel, kingwood crossbanding and ebony and boxwood stringing, with a waved gallery and raised on a modern mahogany stand as a low table, 86cm wide, 52cm high, 64cm deep
A Late 19th Century Billiard Table Lamp England circa 1880, the lamp in bronze and ormolu, the central shaft stamped with makers plate 'Thurston of London' with foliate boss and scrolling supports connecting a beam with three lights ending with gilt finials, 210cm high, 270cm deep
A Fine 19th Century Table Clock England circa 1830, in burr yew and gilt mounted case of unusual small size and particularly detailed chasing, the eight-day movement with original verge escapement, the gilded dial with Roman numerals has an extremely finely engraved lower plate signed Viner London, 18cm wide, 41cm high, 14cm deep
A Pair of Sinumbra Lamps France circa 1820, the fluted columns standing on a tripod of claw feet, the lamp mechanism incorporating glass chimneys within partially frosted and wheel cut glass shades, 76cm high Sinumbra lamps, literally lamps giving light without shadow, became an important technological innovation in lighting during the period of the Classical Revival. With its light source set at the centre of the circular tank, the illumination that fell on the table surface was without shadow. Many forms of table lamps and hanging lamps were produced, and the light was modulated by the use of half-dome and pyriform shades that were variously clear and frosted and wheel cut with a wide variety of designs.
A Tulip Student Lamp England, circa 1990, created and produced by Mallett, 48cm high In 1968 Francis Egerton, former chairman of Mallett, stumbled upon a beautiful, if rather damaged, William IV painted lamp. He immediately recognised that here was an object of timeless charm. Since then these table lights have formed a stamplle of Mallett s modern line range and continue in production to this day. They are an emblem of both the whimsy and dedication to historical accuracy that defines Mallett today. .
A Victorian Marquetry Centre Table England circa 1840, attributed to Edward Holmes Baldock, the top is inlaid with concentric circles of elaborate scrolling foliage with, at the centre, a floral bouquet surrounded by butterflies, the base fashioned as a tripod , 74cm high Edward Holmes Baldock was a furniture dealer and restorer known to operate from premises in Hanway Street, London from 1805. His business and specialisation steadily expanded and in 1821 he was described in the Post Office Directories as an antique furniture and ornamental china dealer , this entry was re-defined in 1826 to buying, selling, exchanging and valuing China, Cabinets, Screens, Bronzes etc . In addition to restoring existing furniture, he also produced designs for new pieces and had them made to his specifications. One of his commissions was to produce designs for a suite of bedroom furniture in 1841 for the Duke of Buccleuch. A design for a table in the Buccleuch papers is annotated, No. 3 Amboyna wood ground with coloured flowers which is almost certainly the preliminary sketch for a table which was made later. He is known for a number of well-constructed, and in certain cases, finely inlaid pieces of furniture marked with his initials, EHB . Some of these pieces were pastiches of 18th century French furniture and others are executed in contemporary English style. Baldock s bills survive in many important archives including the Windsor Royal Archives, George IV s papers 1827-28, the Duke of Buccleuch and Queensbury s private archives and the Duke of Northumberland s private archives amongst many others.
A William IV Amboyna Writing Table England circa 1830, in the manner of George Bullock, the highly figured rectangular top is edged with inlaid calamander in the form of a running band of inlaid flowers and foliage, the frieze with two drawers to one side, the table is supported by pedestals at each end similarly veneered in amboyna and enriched with finely carved neo-classical foliate mouldings, the supports terminate in scroll feet on castors,the highly figured rectangular top is edged with inlaid calamander in the form of a running band of inlaid flowers and foliage, 155cm wide, 73cm high, 69cm deep George Bullock (1782/83-1818) was a renowned sculptor, cabinet-maker and entrepreneur. Although forgotten for many years, he was recognised as the foremost exponent of the Regency style popularised by Thomas Hope. After a successful career as a sculptor and furniture designer in Liverpool, he moved to London in 1814 and established his furniture workshop at 4, Tenterden Street, Hanover Square. His highly original designs, drawing on contemporary Greek Revival and Empire styles, many of which were published in Ackerman's Repository of Arts , attracted such distinguished patrons as Sir Walter Scott and Matthew R. Boulton. His most famous commission came in 1815 when the British government ordered a suite of furnishings for the exiled Emperor Napoleon on St. Helena. Following his death the artist Benjamin Haydon commented, George Bullock was one of those extraordinary beings who receive great good fortune and are never benefited by it, and suffer great evils, and are never ruined, always afloat but never in harbour and two years after his death Richard Brown wrote in The Rudiments of drawing Cabinet and Upholstery Furniture that, The late Mr Bullock was the only person who ventured into a new path....There was great novelty without absurdity, as well as a happy relief in his ornaments. It is now part of furniture legend that this pre-eminent cabinet-maker was soon forgotten and it was not until the auction of the Boulton house, Great Tew Park in 1987 that his reputation was revived. The following year Blairman held an exhibition of his work and published a catalogue featuring appraisals of Bullock's work by Clive Wainwright and Lucy Wood. His reputation was restored. The Tew Park furniture is particularly useful for Bullock studies as the original bills survive and signature techniques and styles can be observed en masse. In particular the strength of the overall design is typical of Bullock's architectural rather than a pure furniture approach.
A Victorian Writing Table England circa 1840, signed by George Trollope and Sons, 15 Parliament Street, the shaped top retains its original green leather, below are two drawers with recessed panels and elaborate brass handles, the table is supported on pierced pedestals carved with a lattice pattern and stylised foliate motif terminating in castors, the ends are joined by an elaborately carved column stretcher, 144cm wide, 74cm high, 76cm deep
A North Italian Giltwood Side Table Italy circa 1780, having a pierced frieze carved with a stylised guilloche motif with honeysuckle enrichments, at the centre of the frieze is a high relief carved cartouche of hunting trophies, the table stands on turned, tapering, fluted and reeded legs with further honeysuckle carving above the reeding, below the frieze and joining the legs are boldly carved beribboned honeysuckle swags, throughout, the table retains its original gilding and original marble top, 135cm wide, 89cm high, 66cm diameter
A William IV Mahogany Extending Dining Table England circa 1835, the demi-lune ends above a moulded frieze supported on circular tapering legs with large scale brass caps and castors, the internal telescopic mechanism allowing for seating for 16, 74 cm high, 165 cm wide, 576 cm long
A Pair of Scagliola Pedestals Italy circa 1800, each of oval form fashioned from simulated griotte marble standing on black and white rectangular stepped plinths, 43cm wide, 92cm high, 28cm deep Scagliola is an imitation of marble and pietra dura made from a composition of selenite, glue and natural pigments. It is applied like paint to a wet gesso ground and fixed under heat and highly polished. A complex texture and numerous possibilities of rich colours was the result. The origin of the technique is Roman but was revived from the 16th century onwards as a less expensive option to marble and pietra dura pieces. It was mainly used for columns, pilasters and architectural features as well as for table tops.
A Regency Parcel Gilt Side Table England circa 1825, with lions head capitals and claw feet with a mirrored back, the legs and frieze mounted with lacquered brass neo-classical elements, now with a replacement portar marble top, 80cm wide, 93cm high, 47cm deep
A Combination Backgammon, Chess & Writing Table England circa 2008, of traditional form with a removable top, the tric trac table is veneered throughout with polished shagreen, the reversible top is leather on one side and rotates to reveal a card playing surface, inside, the backgammon board is held by a brass clip, when released, the board rotates to create the chess board, the drawers for the playing pieces released via a hidden button under the end rail, 114cm wide, 74cm high, 60cm deep
A George III Mahogany Library Table England , in the manner of Thomas Chippendale, of small scale and rich colour, the leather-lined top with carved moulded edge, the frieze having two end drawers enriched with swags of carved husks suspended from rosettes and finished with a band of gadrooned decoration, each corner embellished with carved acanthus decoration and pierced scrollwork brackets, the chamfered legs decorated with blind fretwork and finishing on block feet, 85cm wide, 77cm high, 110cm deep Please note: A George III Revival Mahogany table, 19th century
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1181627 item(s)/page