A Pair of Regency Library Armchairs England circa 1820, of large scale with caned seat, back and sides, the channelled hand rests above ring turned supports and ring turned front legs all with brass castors, the buttoned deep seat and arm supports upholstered in tobacco coloured suede, 70cm wide, 103cm high, 75cm deep During the refurbishment of Stourhead, Wiltshire at the beginning of the 19th century, chairs such as these where the framework is filled by caning, were referred to by Thomas Chippendale the younger (1749 - 1822) as hunting chairs. Also referred as such by Thomas Sheraton in his Cabinet Dictionary of 1803, in which it is noted that they "formed a temporary resting place for one that is fatigued as hunters generally are." Other examples are sometimes furnished with a reading slide or foot rest, see: Shorter Dictionary of English Furniture, Ralph Edwards. Country Life, 1964, p.169, pl.3. Provenance: Rushbrooke Hall, Bury St. Edmunds.
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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
A George III style set of twelve mahogany dining chairs, in the manner of Thomas Chippendale, comprising two open armchairs and ten side chairs, each of ladder back form with a serpentine shaped crest rail, all with leather over-stuffed seats, raised on square legs with H stretchers and back stretchers, each 100cm high, (12)
ENGLISH AND FRENCH FURNITURE REFERENCE BOOKS (15)F J B Watson, 'Louis XVI Furniture', published by Alec Tiranti 1960,Marjorie Filbee, 'Dictionary of Country Furniture', published by The Connoisseur 1977,Margaret Jourdain and F Rose, 'English Furniture, The Georgian Period 1750-1830', published by B T Batsford Ltd. 1953,John Andrews, 'The British Antique Furniture Price Guide and Reasons for Values', published by The Antique Collectors' Club 1989,compiled by Elizabeth White, 'Pictorial Dictionary of British 18th Century Furniture Design', published by The Antique Collectors Club 1990,'Pictorial Dictionary of British 19th Century Furniture Design',published by The Antique Collectors Club' 1977, with an introduction by Edward Joy, R W Symonds,'Present State of Old English Furniture',published by Duckworth 1927,Thomas Chippendale, 'The Gentleman and Cabinet Maker's Directory', Dover Publications 1966, a reprint of the third edition, Edward T Joy, 'The Country Life
The Life and Work of Thomas Chippendale by Christopher Gilbert, pub. Studio Vista book by Cassell Ltd 1978, in two volumes in slip case; Furniture at Temple Newsom House and Lotherton Hall by Christopher Gilbert, pub. National Art Collections Fund/Leeds Art Collections Fund 1978, in two volumes with slip case; and William and John Linnell Eighteenth Century London Furniture makers by Helena Hayward/Pat Kirkheim, pub. Studio Vista/Christie's London 1980, in two volumes with slip case, all signed by Stewart Linford in pencil to front endpapers
A George III mahogany serpentine kneehole desk, circa 1760 A George III mahogany serpentine kneehole desk, circa 1760, the shaped recta ngular top above the frieze drawer opening to a sliding baize inset surface opening to a divided interior, above six further drawers centred by the recessed and panelled bow front cupboard door, on shaped bracket feet, 84cm high, 110cm wide, 82cm deep Provenance; Formerly part of the collection of Lord Plender and was given to current owners grandfather on his death. This desk is pictured in R.W. Symonds book, Masterpieces of English Furniture and Clocks (B.T.Batsford, 1940) page 41 fig. 29 where it is also confirmed as being part of the collection of Lord Plender, G.B.E. For several related designs of Commode Dressing Tables or 'Buroe' dressing tables see Thomas Chippendale, The Gentleman and Cabinet Maker's Director, Third edition, 1762, (Reprinted by John Tiranti Ltd, 1939) Plate LXII Lord Plender of Sundridge was a distinguished collector of English furniture and a close friend of R. W. Symonds, the preeminent furniture historian who published widely on the subject in the early 20th century. Plender, along with J.S. Sykes, Eric Moller, Samuel Messer, Percival Griffiths, Geoffrey Blackwell, and Jim Joel formed the most notable and esteemed group of English furniture collectors under Symonds guidance. Symonds featured pieces of Plender s collection in his publication Old English Walnut and Lacquer Furniture (London, 1923) and his seminal text Masterpieces of English Furniture and Clocks (London, 1940) Symonds also wrote several articles about Plender s collection, including a feature article in Apollo in 1931 entitled Furniture in the Collection of Lord Plender (vol. XIV, no. 83).
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)
18TH CENTURY ENGLISH FURNITURE Christopher Claxton-Stephens and Stewart Whittington, 'The Norman Adams Collection', published for The Antique Collectors' Club Ltd. 1983, half calf boundChristopher Gilbert, 'The Life and Work of Thomas Chippendale', published by Studio Vista-ChristieÉs 1978, two volumes, with outer slip signed by the author,Ed Gerst, 'Masterpieces of English Furniture', published by ChristieÉs Books 1998 Gerstenfeld Collection, R. W. Symonds, 'Masterpieces of English Furniture and Clocks', published by B. T. Batsford Ltd. 1940,Margaret Jourdain, 'The Work of William Kent', published by Country Life Ltd. 1948 (5)
Margaret Jourdain, 'Work of William Kent', published by Country Life Ltd. 1948,Percy Macquoid, 'English Furniture Tapestry Needlework of the 16th-19th century',published by B. T. Batsford Ltd 1928, limited edition of 200 UK copies (a record of the collection in the Lady Lever Art Gallery, Port Sunlight, formed by the First Viscount Leverhulme),R. W. Symonds, 'Masterpieces of English Furniture and Clocks', published by B. T. Batsford Ltd. 1940, limited edition of 750 UK copies,Introduction by John Gloag, notes and comments by Yvonne Hackenbroch, 'English Furniture, with some furniture of other countries - the Irwin Untermyer Collection', published by Thames & Hudson 1958,Christopher Gilbert, 'The Life and Works of Thomas Chippendale', published by Studio Vista-ChristieÉs Publishing 1978 (5)
THOMAS CHIPPENDALE:1. Thomas ChippendaleÉs The Gentleman and Cabinet MakerÉs Directory 1754. A facsimile of the original No.56/84 SubscriberÉs edition., Chippendale Society, 2004, DJ;2. Gilbert, Christopher: The Life and Work of Thomas Chippendale, two volumes. Studio Vista/Christies, 1978, in slip case;3. The Two Volume Catalogue of the Contents of Dumfries House. Produced by Christie's in 2007, the sale not eventually taking place. The contents, including the furniture commissioned from Chippendale, now permanently on view in situ (5)
ENGLISH FURNITURE:1. Hayden, Arthur: The Furniture Designs of Thomas Chippendale. Gibbings & Co, 1910;2. Swarbrick, John: Robert Adam and his Brothers. Batsford, 1915;3. Child, Graham: World Mirrors 1650-1900. SothebyÉs, 1990, DJ;4. Beard, Geoffrey: The Work of Robert Adam. Bartholomew & Son, 1981, DJ;5. And four further books (8)
Skottowe (Thomas). The Skottowe Manuscript, Thomas Skottowe`s Select Specimens from Nature of the Birds Animals &c. &c. of New South Wales, 2 vols., facsimile edition, David Ell Press, Chippendale, Australia, 1988, colour and b & w illustrations, original cloth, contained together in original slipcase, small folio, (limited edition 445/550), together with Keynes (Geoffrey), William Pickering Publisher, A Memoir and a Check-List of His Publications, revised ed., Galahad Press, 1969, b & w plates and illustrations, original cloth in d.j., 4to, with Russell (K.F.), British Anatomy, 1525-1800, A Bibliography of Works Published in Britain, America and on the Continent, 2nd ed., 1987, b & w plates, original cloth in d.j., 8vo, and Allison (A.F.), English Translations from the Spanish and Portuguese to the Year 1700, An Annotated Catalogue of the Extant Printed Versions, pub. 1974, original cloth, 8vo, plus eight other similar bibliography (12)
A mahogany serving table, having oblong verte antico marble top over frieze applied with fret work, Vitruvian scrolls and gadrooned banding, on bobbin and reel carved canted square section legs, 132cm wide, 63.5cm deep, 88cm high ***This table was made by Eric Wright of Cottingham, circa 1975 and is a copy of one in the dining room at Burton Agnes Hall described as ""in the style of Thomas Chippendale"" ***
A mahogany serving table, having oblong verte antico marble top over frieze applied with fret work, Vitruvian scrolls and gadrooned banding, on bobbin and reel carved canted square section legs, 132cm wide, 63.5cm deep, 88cm high ***This table was made by Eric Wright of Cottingham, circa 1975 and is a copy of one in the dining room at Burton Agnes Hall described as ""in the style of Thomas Chippendale"" ***
An 18th century painted open armchair, in the manner of Thomas Chippendale The shell crested padded oval back issuing twin open arms above the padded seat, standing on gadrooned tapering legs. 55 cms wide. Note: This chair was assessed and valued on the Antiques Roadshow at Newmarket in 2001 by John Bly who assessed it to be from the Thomas Chippendale workshop. This lot is accompanied with photographs of the restoration process. CONDITION REPORTS: Re-painted, re-upholstered, various repairs, general wear.
The Costume of Yorkshire in 1814 by George Walker, edited by Edward Hailstone, 4vo, published by Jackson, the 1885 facsimile edition. This lot contains the outer boards only, together with three original pages, however, included are several original loose plates, depicting furniture design, the majority being Thomas Chippendale.
A pair of George III giltwood armchairs by Thomas Chippendale, the arched back with palmette carved crest rail, the rosette and bead carved frames with ebonised detail and with associated 18th century French floral tapestry, the shaped arms terminating in stylised palmettes, above shaped and moulded down-swept arm supports with anthemion and Greek key, with bead moulded rails, raised on reeded tapering legs, terminating with stiff leaf carved feet. (2) Chippendale supplied furniture to Worsley at Appuldurcombe between 1776-1778. The above lot is part of a suite of giltwood furniture supplied for the drawing room at Appuldurcombe. The room was hung with '8 pieces of Gobelin Tapestry, representing the Arts & Sciences, copied from Boucher's paintings at Versailles.' They were inventoried about 1779 as: '8 Cabriole elbow chairs carv'd & gilt in burnish'd gold & cover'd with Gobelin Tapestry. A Sofa to match, cover'd wt. Do.' (see L. Boynton, "Sir Richard Worsley's Furniture at Appuldurcumbe Park", Furniture History, 1965, pp.39-58). Design motifs present on the above correspond with furniture supplied to Appuldurcombe such as a pier table illustrated in C. Gilbert, "The Life and Work of Thomas Chippendale", fig 499, p. 273. These include beaded frames, anthemion and rosette carved details and reeded tapering legs, with stiff leaf carved feet. The anthemion and stiff leaf carved feet details are also present on the mahogany dining chairs supplied to Appuldurcombe, as illustrated in fig. 152 p. 94. The Greek key details on the profile of the arm supports are present on a library chair supplied by Chippendale to Brocket Hall fig. 151, p. 93. A family connection can be established between Appuldurcombe and one of Chippendale's more important commissions for Edwin Lascelles at Harewood House. Edwin Lascelles' step daughter married Sir Richard Worsley giving rise to the assertion that the Appuldurcombe interior could have been influenced by the emerging Neo Classical remodelling of the interiors of Harewood House by Chippendale. ref. C. Gilbert, "The Life and Work of Thomas Chippendale", W. S. Knoecky Associated, Inc., 1978. Supplied to Sir Richard Worsley, b. 1751- 1805, 7th Baronet of Appuldurcombe, Isle of Wight. He was a member of parliament for Newport 1774-1784 and re-elected as Member of Parliament for Newtown 1796-1801. Comptroller of the Household 1779-1782. The last British Minister Resident to the republic of Venice 1793-1797, after which this diplomatic posting was demolished. Governor of the Isle of Wight 1780-1782. Vice Admiral of the Isle of Wight 1780-1791. CONDITION REPORT: The black painted ebonised detail is believed to have been applied at a date later than that of construction. The tapestry back panels are in reasonably intact condition but the seats are very worn in the area of design of the flower baskets and along the front edge of the seat, the armpads too have wear. Almost every section of the frames has flaking gilding, the legs in particular have many losses. On one chair the arm has become detached where it joins the back but is complete The carved detail to the frames such as beadwork, paterae and honeysuckle motifs all have wear rubbing which is particularly evident on the beading to the top rails with most gilding and size rubbed away. The underside of the frames have an added oak strengthening rail to the back rail of the seat which may perhaps have been added when the seats were sprung , with webbing having been added to hold the springs in place.
![[ANTIQUES & COLLECTING] Chippendale, Thomas. The Gentleman and Cabinet-Maker`s Director: Being a Large Collection of the](http://lot-images.atgmedia.com/SR/10066/2907761/966-2014527143816_468x382.jpg)
[ANTIQUES & COLLECTING] Chippendale, Thomas. The Gentleman and Cabinet-Maker`s Director: Being a Large Collection of the Most Elegant and Useful Designs of Household Furniture, in the Most Fashionable Taste, facsimile reprint of third edition of 1762 [published circa 1900], crimson half calf, leather title label to spine, illustrations throughout, folio.
A cartel clock, by William Smith, London, the silvered dial and movement in a reproduction carved giltwood case, 96cm high The vendors purchased the movement, and commissioned the case from the late Bob Holman of Sevenoaks. The case is modelled on a case by Thomas Chippendale illustrated on p.157 of 'European Pendulum Clocks' by Peter Heuer - Klaus Maurice. CONDITION REPORT: Some splits to the case and gilding.
A 19th century carved giltwood chinoiserie mirror, in the manner of Thomas Chippendale The ornately C-scroll and florally carved frame surmounted with a pagoda issuing a bell, flanked by twin ho-ho birds. 165 cms wide. CONDITION REPORTS: Some gilt wear and loss, some restorations including necks and wings of birds, birds are removable, some other small losses and restorations, silvering damage to mirror plate.
A George III mahogany bureau possibly by Thomas Chippendale, the crossbanded fall revealing drawers and pigeon holes, above four long graduated drawers each with a `S` shape keyhole and bracket feet, 42in (106.6cm) high, 37Ύin (95.5cm) wide, 20Ύin (52.5cm) deep. Provenance: The Norris Family, formerly of Wood Norton Hall, Norfolk.
A George III mahogany travelling writing desk on a tripod stand, crossbanded overall, the hinged top fitted a stationery compartment to a hinged lined fall revealing an arrangement of drawers and pigeon holes around a panelled cupboard door with pilasters revealing four graduated drawers, on a baluster turned stem on cabriole legs and pointed pad feet, with brass side carrying handles, 41½in (105.4cm) high, 25in (63.3cm) wide, 22in (56cm) deep. Provenance: By repute this travelling writing desk `vargueno` was made by Thomas Chippendale for Alexander Grimaldi. It was passed by descent to his son William Grimaldi, miniaturist to George IV and friend of Joshua Reynolds.Thence to Dr. Grimaldi, Bristol and purchased by Dr. Gilson.
A George III giltwood mirrored wall bracket in the manner of Thomas Chippendale, the urn pediment over a mirrored back in the form of a pear, carved with scrolling leaves over a rectangular gadrooned bracket, 56cm wide, 102cm high Provenance lot 126 Sotherby's Castle Howard York Yorkshire Auction Monday 11th November 1991
American Chippendale Carved Slant-Front Desk An American Chippendale Carved Birch Slant-Front Desk, late 18th c., New England, bail pulls marked "HJ" likely for Thomas Hands & William Jenkins, fall front opening to interior fitted with drawers and compartments, four graduated drawers below, ogee bracket feet, pine secondary wood, height 43 1/4 in., width 43 3/4 in., depth 21 1/2 in. Provenance: Acquired from Four Corners East Antiques, VT, 1977 Note: Between 1791 and 1797 to 1805 Thomas Hand and William Jenkins formed a partnership in the manufacture of "commode handles". Reference: Metalwork in Early America, 1996, Fennimore, Donald L., p. 441.
A carved giltwood marginal wall mirror, circa 1770 and later, with broken arch pediment, and rocaille mouldings overall, the sides decorated with carved meandering branches, 175cm high, 180cm wide. For a mirror of related design see Christie’s, The English Collector & Tapestries, 500 years of Decorative Arts in Europe, 31st October 2012, lot 14. Whilst this mirror demonstrates a more restrained approach than many typical drawings for mirrors of the period, this mirror does bear similarities to the overall design of examples by Matthias Lock & Henry Copland. In addition, related elements of designs by Thomas Johnson and Thomas Chippendale can be seen in this mirror (see Elizabeth White, Pictorial Dictionary of British 18th Century Furniture Design, Antique Collectors Club, 1990, pages 327, 373 (Plate 39), pages 374 and 375).
FINE GEORGE II CARVED MAHOGANY LIBRARY ARMCHAIR CIRCA 1755 the arched back and serpentine seat flanked by outscrolling arms with foliate and shell carved terminals, over a lattice carved apron centred by a ruffled shell and foliate scrolls, raised on shell and foliate carved cabriole legs ending in scrolled toes, in later green and yellow floral silk upholstery 68cm wide, 92cm high, 51cm deep Note: The inspiration for this elegant armchair is undoubtedly taken from French fashion of the period as interpreted by a mid 18th-century cabinet maker. Thomas Chippendale illustrated several examples of `French` chairs in his `Gentleman and Cabinet Makers Director published in 1754, and other important cabinet makers of the St. Martin`s Lane Academy worked in this style. The pattern of this chair, with its incised trellis ground, enjoyed considerable popularity in the mid 18th century, making identifying the specific maker a bit of a mystery. The chair is very similar to the well-known suite of seat furniture previously in the collection of Sir John Ward, K.C.V.O of Dudley House. Helena Hayward, the furniture historian, in her 1964 Conoisseur article described the Dudley House suite saying "it would be no exaggeration to claim that no finer example of its period is now known to exist". Several top London cabinet makers have been put forward as the likely makers of these chairs, including William Bradshaw of Greek Street, Soho, or his partner Paul Saunders who supplied related suites to Hagely Hall Worcestershire and Petworth, Sussex. Other potential candidates include James Whittle, Snr and Samuel Norman of St. Andrew`s Street Soho, as well as William Vile and John Cobb of St Martin`s Lane who supplied related cabriole legged chairs, John Chute at the Vyne, Hampshire and the Hon. John Damer of Came House, Dorset. A pair of similar chairs sold Christie`s New York, 11 June 2010, lot 428.
GOOD PAIR OF GEORGE III MAHOGANY AND BEECH `CHINESE CHIPPENDALE` ARMCHAIRS CIRCA 1760 each with an arched and foliate scroll carved top rail over a lattice work straight back and slightly scrolling open lattice work arms, over a plank seat and blind fret carved seat rail, raised on straight square blind fret carved legs joined by an H-form stretcher (2) 60cm wide, 102cm high, 47cm deep Provenance: Property from a Scottish country house Note: The design for these chairs is taken almost exactly from Thomas Chippendale`s Gentleman and Cabinet-Maker`s Director, plate XXVII. It incorporates a number of Chinese influences including the blind fret carving and open trellis found throughout Chippendale`s design book.
A George III Mahogany Cellaret on Stand, by Gillows, circa 1790, the hinged domed lid crossbanded in tulipwood within boxwood strung lines, enclosing a compartmentalised interior, with original brass carrying handles, stamped Gillows Lancaster, the lock by J Bramah, the stand of fluted form with flowerheads at each corner, on plain brass cappings and castors, 59.5cm by 46cm by 78cm The stand formerly reduced in height, but now raised to its original dimensions using the 1788 Gillows sketch and 18th century mahogany; the interior compartments re-arranged but retaining the original timbers. From 1789/90 until the mid 1790`s Gillows used two blocks, such as used on the present cellaret, to make the stamp GILLOWS LANCASTER, which narrows its date of manufacture to c. 1790 - 1795. This drawing of the cellaret is retained in the Gillow Archives housed by the City of Westminster Archives Centre, volume 344, number 94, pages 238-239, published in 1787-1788. It is described as a Guardevine with trunk to hold 9 bottles, with a loose frame, rail flutes and taper legs with lid. The estimated costs are given as follows: Feb 14th 1788 - a Guardevine with trunk lid; 8 ft of ¾ inch mahogany and birch vin[ee]r - 10s 9d; 2½ ft of 1 inch mahogany - 4s 4½d; 2 ft of ¼ inch mahogany the same - 2 s 2d; 1 ft of 1 inch ditto the legs - 10½d; 2? ft of ½ inch ditto the bottom - 1s 1¾d; 1 pair of stop hinges - 1s 0d; 1 lock and escutcheon - 1s 5d; 1 pair of lifting handles - 2s 2d; 1 sett of sockett castors ? inch - 2s 6d; 1 small cock - 5½d; 3 dozen of ¾ inch and ½ inch screws - 4d; 17 pound of lead at 3d per pound - 4s 3d; Lining ditto Mr Stewart - 5s 9d; Making ditto Henry Walling, Compute - 19s 6d; Rails fluted & carved rows per Mr Gibson - 4 s 9d; Total cost: £3 1s 3½d. Henry Walling was apprenticed for 7 years from 5.3.1770 to Henry Baines and William Bruce, cabinet makers of Lancaster. He became a freeman in 1779-1780. In 1785, with 32 other workmen, he signed the Gillow wage agreement. His work is recorded at Gillows from c. 1785-1796. Henry Gibson (1736-1797) was apprenticed to Christopher Walker, joiner and cabinetmaker of Lancaster, from 10.6.1753. He probably began working for Robert Gillow & Son on completing his apprenticeship. He was described by Richard Gillow in December 1789 as their best carver. Note on Joseph Bramah: Originally a cabinet maker, Joseph Bramah (1748-1814) patented a lock in 1784 which, due to its complex design, remaining unpicked for more than 50 years. As such it was a popular choice for pieces of furniture which held valuables, such as fine wine. Note on Gillows: Gillows and the furniture they made are renowned for several reasons. First, the quality of construction is considerably higher than that of the majority of contemporary cabinet-making firms. Second, with the firm`s proximity to the port of Liverpool and the trading links to the West Indies, the firm was actively (and very profitably) engaged in the importation of not only top quality mahogany, satinwood and other timbers, but also in the sale of British goods to Jamaica and the importation of other West Indian produce for sale in Britain. Third, the innovation of their designs and the preservation of the designs` uniqueness were highly important to the success of the business. If a pattern book was published, its designs were anyone`s (a problem often encountered when attempting to attribute furniture without a secure provenance to Thomas Chippendale). Because Gillows never published their designs, they were always striving for novelty and protecting their patterns from industrial espionage. Gillows` sober and restrained designs, the exceptionally high quality of timber and workmanship, and the exclusivity of their patterns have contrived to create in Gillows the quintessential English cabinet-making firm of the late 18th and 19th century. Good colour and condition throughout. Top with very minor bruising, all consistent with age. Very fine natural split on brackets and stand. Rejoined (as full catalogued). Small bruising around legs, fluted frieze and moulding consistent with age. 080313
EDWARD RUCKER (C1712-1774) AND OTHERS AFTER THOMAS CHIPPENDALE (1718-1779) THREE PLATES FROM THE GENTLEMAN AND CABINET MAKER~S DIRECTOR engravings with margins^ 1753 and 59^ 23 x 36cm ++In apparently fine condition unexamined out of the frame. Ready to hang in gilt and yellow washlined mount and ebonised^ reeded frames with the label of the O~Shea Gallery
Schiffer (Herbert F.). The Mirror Book, English, American & European, pub. Pennsylvania, 1983, b&w illusts. throughout, orig. gilt dec. cloth, some staining, in d.j., large 4to, together with Gilbert (Christopher), The Life and Work of Thomas Chippendale, 1978, b&w illusts. throughout, orig. cloth gilt in d.j., 4to, plus Pinto (Edward H.), Treen and Other Wooden Bygones, 1969, b&w illusts. throughout, orig. cloth in d.j., 4to, plus twenty other furniture related (23)
Chippendale (Thomas). The Gentleman and Cabinet Maker’s Director..., Supplement, A Gallery of Chippendale Furniture and a Sketch of Chippendale’s Life and Works by Walter Rendell Storey, New York: Towse Publishing Co., 1938, b & w plts. and illusts., orig. cloth in slightly worn d.j., folio, together with Sheraton (Thomas), Thomas Sheraton’s Complete Furniture Works, The Cabinet-Maker and Upholsterer’s Drawing Book, The Cabinet Dictionary, The Cabinet-Maker, Upholsterer, and General Artist’s Encyclopaedia, Supplement, A Gallery of Sheraton Furniture and A Sketch of Sheraton’s Life and Works by Walter Rendell Storey, [New York: Towse Pub. Co., 1946], b & w plts. and illusts., orig. cloth in slightly worn d.j., folio (2)
A carved giltwood wall mirror, in George III style, 19th century, surmounted by rocaille, flanked by opposing ho-ho birds, triple mirror plate within an elaborate C-scroll and S-scroll frame, 153cm high, 150cm wide. For mirrors of related design see Thomas Chippendale, The Gentleman and Cabinet Makers Director’, 1762, third edition. Provenance: The White House, Marlborough.
A George III mahogany harewood and gonzalo alves cross banded ‘breakfast’ table, circa 1760, in the manner of Thomas Chippendale, the rectangular top with a central oval reserve decorated with a marquetry flower, quill pen, note paper and counters, above a single frieze drawer with cast gilt brass knob handles, above an concave fronted cupboard with fret pattern brass wirework panels with silk pleats, square section legs with moulded feet enclosing castors, 75cm high, 101.5cm wide extended, 66cm deep. Provenance: The 6th Earl of Craven. The design of this table bears a close resemblance to a pattern illustrated in Thomas Chippendale, Gentleman & Cabinet Makers Director, pl.XXXIII, 1754. For related examples see Lot 251, Hackwood Park, April 1998, Christie’s. An example exists in the Chippendale Collection at Harewood House Two similar examples supplied by Chippendale to The Earl of Dumfries, Dumfries House, 1750’s. For a closely related ‘breakfast table’, see these rooms, 9th July 2008, lot 264.
STEFANIDIS (J) Rooms, Design and Decoration; GILBERT (C) The Life and Work of Thomas Chippendale, 2 vols, slipcase; MURPHY (S) The Duchess of Devonshire`s Ball; PICK (M) and F von Der SCHULENBURG, The English Country Room; HARRIS (J) The Dressing of the English Country House; KELLY (A) Mrs Coade`s Stone, etc. (2 boxes)
TEN VARIOUS FESTIVAL OF BRITAIN RELATED BROCHURES AND CATALOGUES, including Design in the Festival (two copies); Guide to the Pleasure Gardens, Battersea Park; Norwich Festival; Temple Newsam House, Leeds, Thomas Chippendale Exhibition; Festival of Britain Architecture Exhibition; The 1951 Furnished Flat, Lansbury Estate, and three others (10)
A George III and later mahogany Breakfront Secretaire Bookcase having moulded and dentil cornice with a blind fret frieze and four astragal glazed doors above the secretaire drawer and eleven drawers. 7ft 7in H x 6ft 9in W Provenance: Ex Patshull Hall, Staffordshire, based on designs by Thomas Chippendale in The Gentleman and Cabinet Maker`s Directory see plates 91 and 95.
Suite de cinq chaisesen palissandre mouluré et sculpté de fleurs et feuillages, dossier ajouré à décor de treillis fleuris, pieds cambrés réunis par une entretoise en H. Travail probablement portugais du début du XIXe siècle Hauteur : 83 cm - Largeur : 44 cm Largement diffusés en Europe dans la seconde moitié du XVIIe siècle, les modèles gravés de chaises de Thomas Chippendale furent notamment réalisées en Espagne et au Portugal au début du XIXe siècle.
Chippendale (Thomas). The Gentleman and Cabinet-Maker`s Director: Being a Large Collection of the Most Elegant and Useful Designs of Household Furniture, in the Most Fashionable Taste, 3rd ed., 1762 [reprinted and issued by B.T. Batsford, 1910], 200 b & w plts., later quarter morocco gilt, tall folio, together with Solon (L.M.), The Art of the Old English Potter, pub. Bemrose & Sons, London & Derby, 1883, fifty etched plts., some minor scattered spotting, untrimmed, orig. dec. cloth, a little soiled and minor wear to extremities, folio, plus Rhead (G. Woolliscroft), History of the Fan, 1910, numerous col. and b & w illusts., t.e.g., remainder rough-trimmed, orig. cloth gilt, rubbed and a little scratched, thick 4to, all ex-lib. copies with usual marks, plus other miscellaneous art reference and related, including works by/about John Ruskin (2 cartons)
A George III carved mahogany longcase clock in Chippendale style, with an 8 day five pillar movement, striking on a bell, to a 12.5 inch arched brass dial, with a silvered chapter ring and subsidiary seconds dial to the matt centre with a shaped crescent plaque inscribed Jno. Fladgate, LONDON, above a pierced date aperture, the arch with a subsidiary Strike / Silent dial, the hood with brass urn finials to a blind fret panelled cresting with leaf supports, above a moulded cornice with protruding square corners, a dentil frieze above a blind fret panel and arched door flanked by moulded leaf scroll veluts, the shaped, arched and moulded figured trunk door to a panelled base on ogee bracket feet, 102in (259cm) h. Pendulum, weight, winding key and door key. See The Gentleman & Cabinet Maker`s Director by Thomas Chippendale, plate number CLXIII for a similar hood.
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