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A set of eight George III style Shoolbred and Co mahogany dining chairs, in the manner of Thomas Chippendale, the backs with pierced decoration, all with drop in seats, raised on square legs

A LARGE SILVER SALVER with a Chippendale style border and standing on three scrolled legs, 46cm diameter, London 1910 by Thomas Bradbury & Sons Ltd, 88.7 troy oz

An attractive 20th Century carved and finely figured mahogany demi-lune Commode, in the manner of Thomas Chippendale by Waring & Gillows Ltd., stamped and with label, the moulded top over a carved frieze, with single panel door, and a gadroon decorated base, with four ball n' claw feet, 122cms, (48") wide. (1)

A collection of vintage books to include Thomas Chippendale Furniture Design 1950s Illustrated History of Furniture, Cripps Old English PLate 1886 The House of Coalport and English Pottery etc.

A pair of George III mahogany card tables in the manner of Thomas Chippendale, the plain fold-over tops with flower head carved carved egg and dart edging opening to reveal a plain red baize lined interior over a plain frieze with ribbon-carved edging and concertina action raised on moulded and chamfered square supports with acanthus carved spandrels to shaped block feet, 96 cm wide (Provenance: the property of the Raymond Barker family late of Fairford Park Gloucestershire) CONDITION REPORTS 96 cm x 47 cm and 73.5 cm tall. The first table is bowed on the top with various splits to it, repaired section to the back at the top - see images. Baize with some stains and small rips, the edges with some small chips. some cracks to the veneer on the sides, a small piece of moulding missing to the back right edge and some damage to the moulding on the front edge. some moulding missing to the back left edge, damage to the veneer on the sliding mechanism. Various general signs of wear and tear throughout. the next table again with bowed top, various small scratches, impressed marks etc throughout. Repaired section to the back edge and some moulding missing to the sides in various places including heavily to one side in particular

A GEORGE III MAHOGANY RECTANGULAR BOWFRONT SIDE TABLE IN THE MANNER OF THOMAS CHIPPENDALE, the plain top raised above a fluted frieze, centred with a tablet carved with an urn and husk swags, having oval paterae heading the four front square tapering reeded legs with block feet, and with two conforming back legs. 304cm long, 92cm deepProvenance: Fortgranite, Co. Wicklow

A FINE GEORGE III CHIPPENDALE PATTERN MAHOGANY SERPENTINE FRONT CHEST, the plain top above four long graduated cockbeaded graduated drawers with brass drop handles and fitted 'S' shaped escutcheons, raised on bracket feet. The underside has a thin red wash applied.The thin red wash appeared on a number of pieces of mahogany furniture at Dumfries House, Ayrshire, which were attributed to 'The Dumfries House Cabinet-Maker' - possibly Thomas Chippendale (included in the Dumfries House Christie's sale catalogue, 12-13 July 2007, among them lots 106, 236, 251 and 252). Rufus Bird highlights each of the chests examined have a distinctive 'thin red wash' painted on the underside and sometimes on the backboard, similar to the lot offered here (Bird, R. Ibid, Volume II, p.9). The wash is seen on many lesser pieces of Chippendale furniture in the house and also on the magnificent Padouk bookcase. At Nostell Priory Chippendale wrote to Sir Ronald Winn in August 1767 regarding 'the bottle of red stain for the medal case' and instructed him to apply the stain two or three times to ensure depth of colour (Royton, L. and Goodison, N., Thomas Chippendale at Nostell Priory, Furniture History, 1968, p.21)The distinctive S-pattern keyhole is a feature used nearly exclusively by Thomas Chippendale, although only occasionally recorded on furniture by his competitor John Cobb. According to Gilbert it was noted that a number of documented cabinet pieces by Chippendale are fitted with S-shaped key-hole openings. The S-shaped keyholes appear most notably on the bookcases supplied by Chippendale around 1772 to Sir Penistone Lamb for the Library at Brocket Hall (Christopher Gilbert, The Life and Work of Thomas Chippendale, 1978, vol. II, figs. 77, 80 and 267). In his 1768 account to Lady Shelburne, Chippendale mentioned that a commode table had 'very good spring and tumbler locks and S-bitted keys', as Gilbert remarks, this hardly justifies talk of a special 'Chippendale keyhole' it confirms he employed the pattern' (C. Gilbert, The Life and Work of Thomas Chippendale, vol. I, p.253). A serpentine chest attributed to Chippendale sold anonymously, Christie's, London, 25 November 2004, lot 79 featured 'S-pattern' keyholes, which were favoured by Chippendale and were a speciality of the Gascoigne family of St. James's. This lock pattern has very occasionally been recorded on furniture attributed to Chippendale's competitor John Cobb, for example on the commode sold anonymously, Christie's, New York, 19 April 2001, lot 148. However, nearly all occurrences are on furniture attributed to Chippendale.

A FINE GEORGE III MAHOGANY BOOKCASE, in the manner of Thomas Chippendale, the open triangular pediment with dentil moulding and carved scrolls above twin door arched glazed enclosing shelves, the base with carved rim and twin fielded cupboards on bracket feet, 251cm high, 132cm wide.

Manner of Thomas Chippendale, set of four 18th century open armchairs with painted beech frames, padded back, scroll arms, the serpentine front with fluted frieze and turned roundels, on fluted square taper legs CONDITION REPORT Inspection to underside shows tell-tale cramp v-cuts associated with Chippendales Senior and Junior method of construction. Not the original paint scheme. Chair 1 - splits at top of left rim, old screw repairs, joints opening , nail repairs top of back legs, slight losses to mouldings, general wear. Chair 2 - Ancient repair to both sides of top rail (to back), braces set in to join, loss to timber one side associated with repair, otherwise general wear and slight loss to mouldings. Chair 3 - Similarly braced at the top rail, top of one arm repaired, some associated deterioration, otherwise general wear. Chair 4 - Similarly braced at top rail, slight associated loss to front of top rail, nailed repair at top of leg. Generally chairs are not solid but with damage and restoration. Three of the four chairs have lost some height to back legs, moulding lost.

Sale Catalogue, 'The Thomas Fortune Ryan Collection, Gothic and Renaissance Art',published by American Art Association, 1933,Herbert Cescinsky and George Leland Hunter,'English and American Furniture',Garden City Publishing Company, 1929,Luke Vincent Lockwood,'Colonial Furniture in America', published by Charles Scribner's & Sons, 1926, 3rd Edition, volume 1,Morrison H Heckscher,'American Furniture in the Metropolitan Museum of Art: Late Colonial Period: Queen Anne and Chippendale styles',published by Random House, 1985,Charles R Montgomery,'American Furniture - The Federal Period (1788 to 1825)',published by Bonanza Books, 1954,Jean Palardy,'The Early Furniture of French Canada',published by Macmillan of Canada, 1963,Bernard D Cotton,'Manx Traditional Furniture',published by Manx National Heritage, 1993,Peter Harbison, Homan, Potterton and Jeanne Sheehy,'Irish Art and Architecture from Prehistory to the Present',published by Thames & Hudson, 1978,'Italian Casson

Herbert Cescinsky and Ernest R Gribble,'Early English Furniture and Woodwork', published by Rutledge & Sons, 1922, two volumes bound as one,Margaret Jourdain,'English Decoration and Furniture of the Early Renaissance 1500-1650',published by B T Batsford, 1924Thomas Sheraton,'The Cabinetmaker and Upholsterer's Drawing book',published by Dover Publications, 1972George Hepplewhite,'The furniture design of George Hepplewhite',published by Gibbings & Co., 1910Helena Hayward,'Thomas Johnson and English Rococo',Published by Alec Tiranti, 1964 (2 Editions)Thomas Sheraton,'The Cabinet Dictionary', published by The Collectors' Book Club, 1973, volume 1 and 2Peter Ward-Jackson,'English Furniture Designs of the 18th Century',published by Victoria & Albert Museum, 1958Thomas Chippendale,'The Gentleman and Cabinet-Maker's Director',(reprint of the third edition), published Dover Publications, 1966 (2 editions)Kirkham, Mace and Porter, 'Furnishing the World (The East London F

Adam Bowett,'Early Georgian Furniture 1715-1740',published by The Antique Collectors' Club, 2009,Christopher Claxton Stevens and Stewart Whittington,'18th Century English Furniture, The Norman Adams Collection',published by The Antique Collectors' Club, 1999,Elizabeth White,'Pictorial Dictionary of British 18th Century Furniture Design',published by The Antique Collectors' Club, 1996,John Andrews,'British Antique Furniture Price Guide and Reasons for Values',published by The Antique Collectors' Club, 2001 edition,John Andrews,'Victorian and Edwardian Furniture Price Guide and Reasons for their Values',published by The Antique Collectors' Club, 1998,Anthony Coleridge,'Chippendale Furniture - The Work of Thomas Chippendale and his Contemporaries - in the Rococo Style',published by Clarkson N Potter, 1968,Lucy Wood,'The Lady Lever Art Gallery Catalogue of Commodes',published by The National Museums and Galleries on Merseyside, 1994,Lindsay Boynton,'Gillow Furniture D

A George III style mahogany coffee table, in the manner of Thomas Chippendale, the top with a glass surface and having a gallery edge, raised on square legs

A GOOD SET OF SEVEN GEORGE III MAHOGANY DINING CHAIRS, in the manner of Thomas Chippendale, with well carved cresting rails, pierced vase shaped back splats, drop in seats on stretchered square legs, (one armchair, six side chairs).

J Munro Bell. The Furniture Designs of Thomas Chippendale, George Hepplewhite and Thomas Sheraton, first edition, 2 vols, 4to, blue cloth, published by Gibbings and Company Limited, London 1910.

A late 19thC / early 20thC mahogany kneehole desk, in the manner of Thomas Chippendale, the rectangular top with three black tooled gilt leather inserts, within a leaf carved border, the front of which has canted corners, above an arrangement of nine drawers, flanked by foliate pilasters, opposing a panelled back on bracket feet, 127cm wide.

An attractive 20th Century carved and finely figured mahogany demi-lune Commode, in the manner of Thomas Chippendale by Waring & Gillows Ltd., stamped and with label, the moulded top over a carved frieze, with single panel door, and a gadroon decorated base, with four ball n' claw feet, 122cms, (48") wide. (1)

Books - Antique Reference - Edwards (Ralph), The Shorter Dictionary of English Furniture: From the Middle Ages to the Late Georgian Period, Country Life, London 1969, hb; Gilbert (Christopher), The Life and Work of Thomas Chippendale, Artline Editions, 1978, hb, dj; other furniture reference works; Rose (Ronald E.), English Dial Clocks, Antique Collectors' Club, 1978, hb, dj; Robinson (Tim), The Longcase Clock, Antique Collectors' Club, 1981, hb, dj; The Antique Collectors' Club edition of Old Clocks and Watches & Their Makers, 1977, hb, dj; other horological reference; Wood (Christopher), The Dictionary of Victorian Painters, Antique Collectors' Club, 1991, hb, dj; Mallalieu (H.L.), The Dictionary of British Watercolour Artists up to 1920, Antique Collectors' Club, two-volume set, hb, dj; Dictionary of British Art: British Artists 1880-1940, Antique Collectors' Club, hb, dj; Fallon (John P.), Marks of London Goldsmiths and Silversmiths 1837-1914, hb, dj; other silver works; etc

George Hepplewhite, The Cabinet Maker and Upholsterers Guide, The Third Edition of 1794, Reprint of Thomas Chippendale The Gentleman & Cabinet Makers Director, third edition etc.

After Thomas Chippendale, Desk & Bookcase; Desk & Bookcase; Library Bookcase, a group of three engravings, various sizes.(3)

An George V mahogany dining room suite, comprising extending dining table, raised on cabriole legs with claw and ball feet, together with a set of six dining chairs, in the manner of Thomas Chippendale, fitted with drop-in seats, (7)

A late Victorian mahogany glazed bookcase and gun cabinet, fitted with two doors, the base section two short and one long drawer, in the manner of Thomas Chippendale, 210cm high, 108cm wide, 29cm deep

A GEORGE III MAHOGANY DRUM TABLE, the octagonal leather-lined top above eight short drawers with gilt brass handles, on a fluted column and three downswept cabriole legs with scrolling feet and recessed castors, 45" dia. See illustration. The base relates to the designs of Thomas Chippendale.

J Munro Bell. The Furniture Designs of Thomas Chippendale, George Hepplewhite and Thomas Sheraton, first edition, 2 vols, 4to, blue cloth, published by Gibbings and Company Limited, London 1910.

Lenygon (Francis). Decoration in England 1660 to 1770, Furniture in England 1660 to 1760, Batsford, both circa 1924, numerous black and white illustrations, bookplates to front pastedowns, some light spotting, both original red cloth, spines slightly faded and rubbed, folio (2 volumes in total), together with Jourdain (M.), English Decoration and Furniture of the Early Renaissance (1500-1650), English Decoration and Furniture of the Later XVIIIth Century (1760-1820), Batsford, both circa 1924, numerous black and white illustrations, bookplate to front endpaper of each volume, some light spotting, both original gilt-decorated red cloth, spines slightly rubbed to head and foot, folio (2 volumes in total), plus Gilbert (Christopher), The Life and Works of Thomas Chippendale, volumes 1 & 2 (complete), 1st edition, 1978, numerous colour and black and white illustrations, original gilt-decorated brown cloth in slipcase, 4to, plus other modern furniture reference, including Antique Collectors' Club, H.M.S.O., Batsford, mostly original cloth, many in dust jackets, G/VG (93)

An 18th century carved wood gilded crest with floral decoration in the manner of Thomas Chippendale

A George III carton pierre wall mirror, circa 1770 A George III carton pierre wall mirror, circa 1770, the oval plate within a gadroon and acanthus moulded surround and an elaborately pierced frame incorporating scrolling foliage, surmounted by a twin handled urn hung with swags of bellflowers and a further stylised honeysuckle motif above, 184cm high, 95cm wide To be sold by order of the executors of the late Sally, Duchess of Newcastle The original painted colour scheme used for this mirror relates closely to that employed by Thomas Chippendale for a suite of furniture supplied to David & Eva Garrick for their villa at hampton, middlesex (now south-west london) in 1779. Other pieces supplied by Thomas chippendale (1718-1779) included a dressing table (now at anglesey abbey, cambridgeshire), a pair of cabinet bookcases, a pair of clothes presses, a corner cupboard and a bed. several of the pieces from the suite are part of the Victoria and Albert museum collection. The bed is situated in the British Galleries, room 118a, case 1 (W.70-1916) For a related carton pierre mirror see Christie s, Dealing in Excellence, a celebration of Hotspur & Jeremy, 20th November 2008, lot 57. The design for the Christie s example was related to a design by John Linnell in the 1770 s (H. Hayward, 'The Drawings of John Linnell', Furniture History, 1969, figs. 90, 92 and 126). Linnell was not recorded as making carton pierre mirrors but amongst the specialist papier-maché frame makers working in the manner promoted by Linnell was the Berwick street carver and gilder William Duffour (d.1784), who may have executed a related vase-decked pier-glass (acquired in 1926 by the Victoria & Albert museum (m. Tomlin, Catalogue of Adam Period Furniture, London, 1982, N/14). A related 'Oval Glass Frame' pattern, with reed gadrooned border, and another crowned by a basket, were published in W. Ince and J. Mayhew's, Universal System of Household Furniture, 1762 (pls. 78 and 79). Their patterns also relate to those previously issued in 1758 by Thomas Johnson, for his Collection of Designs and other recorded designs by Matthias Lock and Thomas Chippendale. For a mirror design reflecting very similar use of the large scale stylised honeysuckle or anthemion motif surmount above an urn flanked by rams heads, see Susan E. Stuart, Gillows of lancaster and london 1730-1840, antique collectors club 2008, Volume II, page 81, pl.625

A George III mahogany 'Breakfaste' Pembroke table , circa 1770 A George III mahogany 'Breakfaste' Pembroke table , circa 1770, after a design Thomas Chippendale, the rectangular twin flap top with frieze drawer above an enclosed undertier with pierced fretwork sides and hinged doors, in the Chinese Chippendale taste, on square section moulded legs, 72cm high, 99cm wide open, 61cm deep, The design of this table closely related to Thomas Chippendale's design for a "Breakfaste Table" . The Gentleman and Cabinet Maker's Director (1762) plate LX For similar examples see the Christie's catalogue prepared for the contents of Dumfries House (Thursday 12th July 2007) p.169, and an example by Samuel Smith p.191 Provenance: Private Collection of the Bagshawe family, formerly of Ford Hall and Snitterton Hall, Derbyshire, see page 97.

A George III Mahogany Commode in the manner of Thomas Chippendale, the shaped top with a moulded edge and projecting front corners above an unusual arrangement of ten drawers surrounding two dummy drawers in the centre revealing one deep compartment, with finely cast and chased gilt-brass handles and raised on rare shaped bracket feet, the dummy drawers later adapted 125cm wide, 77cm high, 61cm deep The highly unusual bracket feet on this commode are almost identical to those seen on a pair of serpentine commodes supplied by Thomas Chippendale to Ninian Home for Paxton House, Scotland in 1774. This rare bracket foot is also found on another serpentine commode, almost certainly by Chippendale, supplied to the 10th Earl of Pembroke for Wilton House Wiltshire, circa 1770 (cf. Christopher Gilbert, The Life and Work of Thomas Chippendale, 1978, p. 117, figs. 205-6). The link to Chippendale is strengthened by the fact that the handles on the present commode are of a pattern frequently used by Chippendale. As well as being of a grand size and of superb colour the commode is also distinguished by its highly unusual serpentine outline and drawer arrangement - quite possibly a unique combination.

A Pair of George III Mahogany Hall Chairs in the Manner of Chippendale the pierced scroll backs centred by painted armorial cartouches, the dished and shaped seats supported by cabriole legs terminating in scroll toes, one chair later inscribed to the reverse 'Home, Sweet Home, 30 Hill Street London' and with the dates 1785 and 1858, corresponding to the term of the leased London residence of Lord and Lady Brownlow, 48cm wide, 95cm high, 44cm deep These elegant hall chairs bear the patriotic inscription `Home! Sweet Home! from Sigismond Thalberg's 1857 composition that was much favoured at President Abraham Lincoln's White House and derived from the words of John Payne's 1823 opera, "Mid pleasures and palaces though we may roam, be it ever so humble, there's no place like home" The inscription was added in 1858 to the back of the chairs which belonged to the Hon. John William Spencer Home-Cust, later 2nd Earl Brownlow (d. 1867). The chairs, with their rich ribbon-fretted backs displaying the Cust family crest on an azure blue shield, had served in the hall of his Mayfair home since 1785, when they were commissioned by Brownlow Cust, 1st Baron Brownlow (d. 1808). Their backs derive in particular from a 1759 `Hall Chair' pattern used in the Third Edition of the St. Martin's Lane cabinet-maker Thomas Chippendale's,Gentleman and Cabinet-Maker's Director, (1762)

A set of four early 20th Century Mahogany dining chairs, in the manner of Thomas Chippendale (4)

A set of six early 20th century mahogany dining chairs, in the manner of Thomas Chippendale, with shaped and pierced back splats, drop-in seats, raised on cabriole legs with claw and ball feet, (6)

A carved mahogany bombe linen press to a design by Thomas Chippendale, circa 1900, with stepped top with canted sides and applied stiff leaf and floral carved mouldings, slides to the interior, the base of bombé form, set to the top with two short and one long drawer cast brass swan neck handles, the base centred below with stylized foliate motif, to the canted front corners richly carved with rocaille and acanthus leaf carving, leading to similarly shaped bracket feet to each side.172½ x 145 x 66cm (67 x 57 x 26in). Literature: Footnotes:The Gentleman and Cabinet-Maker’s Director, Plate CXXXI. Ralph Edwards, The Dictionary of English Furniture, Volume II (1990 edition), p. 74. H.H. Mulliner The Decorative Arts in England (1923), Fig. 14. Geoffrey Beard and Christopher Gilbert (eds.), Dictionary of English Furniture Makers 1660-1840 (1986), p. 164 This unusual cabinet conforms almost exactly to an ambitious rococo design in Thomas Chippendale's celebrated publication, The Gentleman and Cabinet-Maker's Director of 1754 (figure 1). The Director is composed of a large collection of, as Chippendale said, "the most elegant and useful designs of household furniture in the Gothic, Chinese and Modern taste." The modern taste refers to the anglicised version of the forms and styles of France which strongly influenced Chippendale's work at this date and has been called "for the most part an Anglicisation of the rocaille". This taste is revealed in the design of Lot 708, with the swelling bombe form of the base and the exceptional fine quality of the intricately designed carving to the feet, an interpretation in wood of the fine chased gilt bronze work of French metal-workers. The Director represented an unparalleled undertaking in the publication of furniture designs, with the first and second editions constituting 160 plates of superb engravings. The work exerted a powerful influence on contemporary style that was felt as far afield as the Prussian Court and Lisbon and which established Chippendale as an inspired and innovative designer. A third edition, somewhat expanded, was to follow in a series of weekly publications in 1762. In the year of publication of the first edition, in which the design related to the present cabinet appears, Chippendale moved to spacious premises in St. Martin's Lane and began to provide furniture to a range of fashionable clients and nobility, including the Dukes of Beaufort, Portland, Norfolk and Hamilton, and the Earls of Northumberland and Chesterfield. Evidence of repairs around the hinges, otherwise in very untouched condition

Two George III oak side chairs, in the manner of Thomas Chippendale, the shaped crest rails with pierced back splats and solid seats, (2)

W. FORSTER AFTER THOMAS CHIPPENDALE - DESIGN FOR A CHIMNEYPIECE, PLATE CLXXXIII FROM THE DIRECTOR, ENGRAVING, 1761, FRAMED, A MINIATURE MAP OF DURHAM, AN INDIAN BRASS REPOUSSÉ DISH AND A VICTORIAN PEWTER MUG

Chippendale, Thomas "The Gentleman and Cabinet Maker's Director...", facsimile published 2005 by the Chippendale Society, subscription no.1 presented to Her Majesty the Queen, list of subscribers, large folio, green cloth, green dust jacket with silk ribbon marker

A GEORGIAN MAHOGANY SERPENTINE FRONT FOUR DRAWER GENTLEMAN'S DRESSING CHEST IN THE MANNER OF THOMAS CHIPPENDALE

A GEORGIAN MAHOGANY PEMBROKE TABLE AFTER A DESIGN BY THOMAS CHIPPENDALE

AN 18TH.C.GEORGIAN MAHOGANY PEMBROKE TABLE WITH UNUSUAL DEEP CHAMFERED LEGS UNITED BY SHAPED STRETCHER IN THE MANNER OF THOMAS CHIPPENDALE

W. FORSTER AFTER THOMAS CHIPPENDALE - DESIGN FOR A CHIMNEYPIECE, PLATE CLXXXIII FROM THE DIRECTOR, ENGRAVING, 1761, FRAMED, A MINIATURE MAP OF DURHAM, AN INDIAN BRASS REPOUSSÉ DISH AND A VICTORIAN PEWTER MUG

After Thomas Chippendale (1718-1779): Eight original 18th century monochrome engravings depicting designs for furniture including Chinese examples (8)

A George III Chippendale design dining chair with Gothic pierced slat and drop-in seat, with accompanying book (2) For similar examples see Arthur Negus English Furniture and Christopher Gilbert The Life and Work of Thomas Chippendale CONDITION REPORT: Joints are slightly loose. Scuff marks and chips around the seat and feet, back of chair with small cracks. This chair is illustrated in Arthur Negus' book on English furniture

After Thomas Chippendale, 'Chairs, plate no.15' M.Darly Sculp, 23.5 x 36cm and another engraving, 'Chests of Drawers, plate no. LXXXVI', 23.5 X 36.5CM, (2).

After Thomas Chippendale (1718-1779): Eight original 18th century monochrome engravings depicting designs for furniture including Chinese examples (8)

A George III mahogany pedestal, attributed to Thomas Chippendale, the stepped top over a fluted frieze with carved foliate corners, the door with a central carved oval leaf patera within diagonal quarter veneered panel with raised bead moulding, the corners with radiating leaf roundels, the interior with a lead-lined drawer with tap, a centre drawer with lift-out box and a cupboard below,45cm wide43cm deep100cm high The stepped top appears to have been altered at a later date and now has a hinged 'lid'Literature: A comparable pair of sideboard pedestals at Paxton House, Berwickshire are illustrated and discussed in: Christopher Gilbert 'The Life and Works of Thomas Chippendale' pl.343. p.194. text p. 270.Another pair of similar design sold at Christie's, New York, 15 April 2005.A further comparable pair sold at Bearnes, Hampton and Littlewood, Exeter, 24/25 April 2013.

A FINE LATE GEORGE III CARVED GILTWOOD SHAPED RECTANGULAR OVERMANTLE MIRROR, in the manner of Thomas Chippendale, the openwork rococo 'C' scroll frame surmounted by Ho-Ho birds flanking an asymmetrical scroll pendant, c.230cm high, 190cm wide

A George III marquetry work table , circa 1760 and later , in the manner of Pierre Langlois , the serpentine shaped hinged top inlaid with with a wreath and bow motif opening to a fitted teapoy interior above conforming frieze, and cabriole supports united by a breakfront undertier, the whole on brass caps and castors, 66cm high, 51cm wide, 39cm deep Provenance: Private Collection, Oxfordshire The design of this work table reflects the French fashion promoted from the 1750s by the Tottenham Court Road ebeniste or cabinet-maker Pierre Langlois (d. 1767). The bold use of swags of marquetry bellflowers alongside exotic timbers also demonstrates similarities to the work of John Cobb. Thomas Chippendale supplied a related table, veneered in tulip and rose woods, for Nostell Priory, Yorkshire and invoiced it in 1766 as: A Lady s commode writing table made of tulip and rosewood with a slider cover d with Green Cloth 5.14.0 (C. Gilbert, The Life and Work of Thomas Chippendale London, 1978, fig.436).

A George III mahogany, rosewood and goncalo alves serpentine desk, circa 1770, the tooled leather inset above an arrangement of nine drawers around the recessed kneehole cupboard, the rear panel quarter veneered and decorated with foliate marquetry, on outswept tapering legs and sabots at the front, 73cm high, 122cm wide, 57cm deep Provenance: A deceased estate, Kent This desk relates to a dressing commode attributed to Henry Hill of Marlborough. See Lucy Wood, Catalogue of Commodes , The Lady Lever Art Gallery, 1994, No.4, pages 64-73. The overall design, mounts, style of marquetry and use of exotic timbers of the commode all bear relation to the current desk. The fine marquetry motifs used to the rear panel of the current desk also bear similarity in treatment to those decorating the corners of the side panels of the commode in Wood s book. See also a related pair of commodes (No.15) pages 154-160 Designed in an elegant George III picturesque fashion, this desk and many related pieces evolved from French Commode Table patterns such as appeared in Thomas Chippendale s, The Gentleman and Cabinet-Maker s Director , 1754 (pls. XLIII and XLV). Henry Hill of Marlborough was active from 1740 until his death in 1778 and was based in the town of Marlborough in Wiltshire. Henry Hill established himself not only as a cabinetmaker, but also a coach-maker, an auctioneer, an estate agent and an insurance company representative. He had a large client list which included members of the aristocracy such as the Duke of Somerset at Maiden Bradley, the Earl of Radnor at Longford Castle and Lord Methuen at Corsham Court, Wiltshire.

PRIGNOT (E) La Marbrarie Moderne, Liege c.1880, folio, pictorial title and 25 plates of fireplaces in settings, rebacked boards; and - A Collection of Ornamental Designs Applicable to Furniture Frames and the Decoration of Rooms in the Style of Louis XIV, on 24 plates, chiefly after Thomas Chippendale, no date, c.1845, 4to, unpaginated, worn original green cloth boards (2)

A pair of George III mahogany dining chairs , circa 1780 A pair of George III mahogany dining chairs , circa 1780, after a design by Thomas Chippendale , the carved top-rail with foliate carving above a decorative pierced splat and overstuffed seat, on square section legs and H-stretcher

A George III mahogany sideboard table:, of arc outline with a plain top, the fluted frieze with a central panel decorated with ribbon tied pendant husks centred by a paterae roundel, on square fluted tapered legs terminating in spade feet, 10ft 4in (315cm) across, maximum, 3ft (91.5cm) high. *Provenance Rockbeare Manor, Exeter, Devon. *The pair of George III mahogany pedestal urns attributed to Thomas Chippendale and which previously flanked this table were sold in these rooms on 24th April 2013. A somewhat similar serving table designed by Robert Adam is illustrated in 18th Century English Furniture, The Norman Adams Tradition p255. The provenance being Woolverstone Hall, Suffolk, the Seat of the Berners family.

A pair of late Victorian mahogany open armchairs, in the manner of Thomas Chippendale, each with a shaped crest rail over a carved and pierced back splat, fitted with an inset seat, raised on cabriole legs with claw and ball feet, each 96cm high, 63cm wide, 60cm deep, (2)

A George III style carved and gilded wall mirror in the manner of Thomas Chippendale, the shell and rocaille cresting flanked by ho-ho birds with rococo scroll and floral swag mirrored frame to central arched plate, 134cm x 99cm, by Clifford White of Cheltenham, circa 1970/see illustration Condition Report: Central plate cracked at left hand corner, small cracks to bottom scroll plate and adjacent plate. Frame in good condition although some areas rubbed to the white and some areas rubbed to the white and slightly chipped, this particularly pronounced at the cheek of the left hand bird. Right hand bird wobbly.

-108 A set of ten George III mahogany dining chairs, circa 1780 -108 A set of ten George III mahogany dining chairs, circa 1780, after a design by Thomas Chippendale, including a pair of armchairs with pierced foliate splats, on chamfered reeded legs joined by stretchers

A set of four mahogany chairs, in George III style, second half 19th century A set of four mahogany chairs, in George III style, second half 19th century, after a design by Thomas Chippendale, each rectangular back centred by the pierced fretwork panel in the 'Chinese Chippendale' taste, each overstuffed seat on square section legs incorporating pierced lattice decoration and cornered by pierced foliate spandrels, each 95cm high, 57cm wide, 50cm deep For the design of these chairs see Thomas Chippendale, The Gentleman and Cabinet-Makers Director . 3rd Edition 1763, Plate XXV.

VORBILDER FUER KUNST-UND MOEBELTISCHLER im Gothischen, Chinesischen und Rococo-stil von Thomas Chippendale, published in Berlin, inscription: "Herbert C. Maw, Severn House, Ironbridge, Salop, Jan 1893" Buyers - for shipping pricing on this lot, visit www.cuttlestones.co.uk/shipping

Two George III mahogany side chairs, circa 1780; together with a similar 20th Century chair, all in the manner of Thomas Chippendale; together with a pair of elm seated Windsor style chairs, three Victorian balloon back chairs, early 19th Century elm seated side chair (9)

Gilbert (Christopher) - The Life and Work of Thomas Chippendale, 2 vol., 1978; Furniture at Temple Newsam House and Lotherton Hall, 2 vol., London & Leeds, 1978; English Vernacular Furniture 1750-1900, New Haven & London, 1991; Pictorial Dictionary of Marked London Furniture 1700-1840, 1996 § Joy (Edward, editor ) Pictorial Dictionary of British 19th Century Furniture Design, reprint, Woodbridge, 1980 § Galea-Naudi (J.) & Denise Micallef. Antique Maltese Furniture, Valletta , 1989, illustrations, many colour, original cloth or boards with dust-jackets, the first two and last with slip-cases ; and c.20 others on furniture, some catalogues, 4to (c.25)

A giltwood single chair, in the manner of Thomas Chippendale, circa 1765

I.S. MILLER AFTER THOMAS CHIPPENDALE 'Desk and Bookcase', from the 'Gentleman and Cabinet Maker's Director; engraving, 35 x 22.5cm; seven further similar; and a pair of architectural perspectives of St Mark's Basilica after Mezzani (10)