A George II carved and painted mirror, c.1750, in the manner of John Vardy, the rectangular glass plate within a heavily carved frame of lilies, flowers and bearded masks below female caryatids, the cresting with a Bacchic head surmounted by pierced foliage, 163cm high 96.5cm wide This mirror is conceived and executed with a boldness and vigour which suggests the work of a top-flight London carver. It combines stock rococo motifs such as foliage and pierced plumes, with others more reminiscent of neo-Palladian designs; it is a combination which suggests an intriguing design lineage. The caryatid figures topped by baskets of fruit appear to have been taken from plate 51 of Isaac Ware's 'Designs of Inigo Jones and Others' (1731). According to Ware's list of contents, this Kent design was for a chimney piece for the Saloon at Houghton Hall. Only the lower part was executed and it remains in situ; the upper section, including the caryatids, was never realised, being discarded in favour of a painting, the Baptism of Christ by Franceso Albani (now in the Hermitage Museum, St Petersburg). Similar caryatids with one arm outstretched adorn the Prince of Wales's state barge, which Kent also designed. The satyr's mask atop the mirror, with its distinctive 'feathery' pointed ears, first occurs in a design by Inigo Jones for a chimney piece at Somerset House, c.1630, which was later engraved and published by John Vardy in 'Some Designs of Mr Inigo Jones and Mr William Kent' (1744). The wild-eyed, 'winged' heads on the lower part of each side probably derive from a similar late Mannerist/Italianate source, now lost. On the other hand, the pierced shell or plume cresting, the bunched rushes or palms to either side and the pierced rocaille foliage to the base are all unequivocal indicators of the 'French' or rococo taste which emerged in England from the late 1730s onwards. This combination of neo-Palladian and rococo influence occurs in some of Matthias Lock's early work, for instance the table and looking glass made for Hinton House, Somerset, in 1745. These are now on display in the V&A British Galleries. However, there are also parallels with John Vardy's designs for Spencer House in the 1750s, in particular his tables and pier glasses for the Palm Room. One of Vardy's more idiosyncratic motifs was the beaded acanthus leaf, which appears prominently on the Palm Room mirrors and on the present lot, at the top of the mirror. A similar combination of palm branches and beaded acanthus can be seen on the pair of mirrors designed by Vardy for the Duke of Bolton in the 1760s. Vardy was a protégé of William Kent, being appointed Clerk of Works at Greenwich in 1736 before taking on, successively, Hampton Court, Whitehall, St. James's and Kensington. He is best known for his engraving and publication of designs by Inigo Jones and William Kent cited above. The significance of a potential Vardy connection is that it links the mirror to a select group of carvers working for the King, the Office of Works and other high status clients. One such was James Richards, Master Carver and Sculptor in Wood at the Office of Works, 1721-67. As well as his work at the various royal palaces and government offices, Richards carved the Prince of Wales's state barge and worked for numerous aristocratic clients, most of whom had social or political connections to Lord Burlington and his circle. Another possible author is James Whittle (fl.1731-59), carver to the Prince of Wales. Whittle's work has been documented at Deene Park, Woburn Abbey, Petworth, and Holkham. It is known he produced mirror frames and other work to designs by William Kent and, perhaps more importantly, he employed Matthias Lock, 'a most excellent Carver, and reputed the best Ornament draughts-man in Europe'. Unless documentation or further evidence comes to light, these hypotheses will remain unproven, but the quality of the design and execution is self-evident. We would like to thank Dr. Adam Bowett for his assistance in cataloguing this lot. CONDITION REPORT: Later glass plate, lower part of the apron replaced, re-painted.
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A George III and Victorian silver old english bead pattern flatware service, various dates and makers, comprising: 12 tablespoons, 12 table forks, 12 dessert spoons, 22 various dessert forks, 12 teaspoons, 8 coffee spoons, a pair of sugar tongs, a basting spoon, and en suite 10 modern silver table knives (2 additional a/f), approximately 100oz, excluding knives (qty.)
A Russian parcel gilt niello work spoon, by Stepan Levin, Moscow, 19th century, the reverse of the bowl decorated with a scene of the Kremlin, 19.5cm long CONDITION REPORT: Underside of bowl worn (from resting on table). Bowl with gilt spotting. Gilt wear across length of the handle.
MALORY, Sir Thomas: Le Morte d'Arthur, The History of King Arthur and of the Knights of the Round Table, edited from the text of the edition of 1634, with Introduction and Notes by Thomas Wright. In three volumes. John Russell Smith, 1858, 1st edn. thus. Half leather binding (3) CONDITION REPORT: Spine chipped, hinges of vol. 1 cracked; stain affecting 2 leaves of vol. 2; o/w G+.
A rectangular rosewood library table, c.1830, with two drawers, on a pair of end supports with fluted channelling, a high stretcher joins them, the trestle bases with moulded feet and castors, the drawers stamped 'Toplis, St. Pauls', 92cm wide 60cm deep 72cm high Literature: James Toplis is recorded at 22 St. Paul's Churchyard between 1811-28. See entry for Toplis - 'Dictionary of English Furniture Makers 1660-1840'. CONDITION REPORT: Top has various paint scratches. Various pieces of moulding missing, particularly around bases of uprights. Good colour to the top.
A Victorian circular rosewood occasional table, the parquetry top with an inlaid star within crossbanded borders, on a tapering octagonal column and triform base with shallow bun feet, 58cm diameter 68cm high CONDITION REPORT: Top has losses to edge stringing, minor defects, veneer repair. Base of column has lost moulding. Edges of base have veneer splits, some stuck back.
A Regency style lacquer and chinoiserie tray table, the two rectangular trays with concave sides and Chinese dragon and water buffalo decoration, sitting on a folding bamboo effect stand, 69cm wide 57cm deep 68cm high CONDITION REPORT: Wear to gilt decoration. Chips, scuffs and cracks to lacquer on edges.
A Victorian Aesthetic occasional table, the rectangular top and shelf lacquered in the Japanese style, the frame formed as naturalistic twigs and branches, 62cm long 42cm deep 72cm high, and a Victorian tapestry footstool (2) CONDITION REPORT: Lacquerwork has losses, rubbing, scratched.
A parquetry and marquetry table lamp, late 19th century, inlaid in contrasting coloured woods with lozenge parquetry to the canted tapered column and with birds to the square base, with a turned and mirrored top, 52cm high CONDITION REPORT: A hole in one corner of the base formerly taking an electricity cable in a rebate along the underside to the column. Now the cable enters through a hole in the side of the base. Shade scuffed and marked, slightly dented, maybe faded? 67cm high to top of shade.
A Biedermeier mahogany centre table, c.1840, the oval top formed with four-figured mahogany planks, with a satinwood-lined long frieze drawer, on two turned end supports, each support standing on a demi-lune plinth, joined by a sunken rectangular shelf, 131cm wide 67cm deep 78cm high CONDITION REPORT: No obvious major faults.
François Ếtienne Villeret (French 1800-1866), AN INTERIOR WITH A BREAKFAST TABLE, WHATNOTS AND DISPLAY CABINETS Signed and dated 1849 l.l., watercolour and bodycolour 26 x 33cm Exhibited: Hazlitt, Gooden & Fox, 'Interiors', 1981, cat. no. 70. CONDITION REPORT: Appears in good condition.
A Victorian Aesthetic painted bedroom suite, each piece painted in tones of green with flowers, foliage and storks, comprising: a pair of matched single beds, 92cm, a pot cupboard, with a shelf above a cupboard, 38cm, a dressing table, the rectangular mirror flanked by trinket drawers and a pair of drawers below, 107cm wide, two painted chairs, a washstand with a tile back and marble top over two drawers, 107cm wide, and a compactum wardrobe, with a shaped pediment, a mirrored door, a cupboard and an arrangement of four drawers, 126cm wide 219cm high (8) The bedheads were painted by Campbell Smith and Co. Ltd., to replicate the decoration on the other pieces and to complete the suite. CONDITION REPORT: Wardrobe 56cm deep. Dressing table 54cm deep. Washstand 56cm deep.
A Directoire mahogany and white marble dressing table, the circular mirror over a rectangular recessed marble top, a frieze drawer raised on boldly scrolled legs united with a turned stretcher and on horn castors, 81cm wide 40.5cm deep 124cm high CONDITION REPORT: Marble cracked to the top. Sun damage to back of table. Veneer loss and rising in places.
A Victorian bamboo writing table, with a green leather inset top over two drawers, with lacquered fronts and 'T' shaped handles, 83cm wide 52cm deep 73.5cm high, and a matched desk armchair, with a woven seat (2) CONDITION REPORT: Writing table - top replaced, worn fronts of drawers. Armchair - loose frame.
Victorian and later bamboo furniture, comprising: a side table, with a lacquered top and undertier, 67cm wide 42cm deep 71cm high, two stands, a folding table, 49cm wide, a pottery mounted tray, 57cm wide, a three-tier stand, with woven tiers, 95cm high, a circular mirror, 36cm diameter, a simulated bamboo mirror, 46 x 120cm, and a three-division canterbury (9)
A refectory table, the three plank top over an oak frieze and four turned legs, united with an 'H' stretcher, 264cm long 73cm wide CONDITION REPORT: Probably late 19th century. The condition is used with wear to top and frame. Solid top and frame, water staining, some deep lines to the top, and an area of black staining
A Devonmoor Toby Jug, a Royal Worcester tankard commemorating Nelson`s victory at Trafalgar together with a similar tankard by Royal Doulton commemorating the Battle of Waterloo, both with embossed pewter type covers, a 19th century opaque glass vase with drawn neck and printed decoration of lovers, a small collection of dressing table wares, etc
A Hummel figure of a little boy artist with impressed number to the base 304, paper retail label "Georg Jensen" and dated 1955 together with a further Hummel group of a little boy reading a book at a table while accompanied by a small dog, with faint impressed numbers to the base 368 (?) and dated 1955
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