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Click here to subscribeA brass studded and leather upholstered armchair, with scroll arms and a serpentine front seat on square chamfered and moulded mahogany legs, united by an 'H' stretcher, George III and later. Provenance: Burton Constable Hall, East Yorkshire. Burton Constable hall has been the seat of the Constable family for over 400 years. William Constable commissioned Thomas Chippendale to furnish the Great Drawing Room in 1775-76.
A VERY GOOD LATE 19TH CENTURY ‘CHIPPENDALE’ MAHOGANY MINIATURE LONGCASE CLOCK by Thomas Wainwright & Jenny Bentley, with moon face, silver chapter ring, eight day movement, contained in a superb quality mahogany case, swan neck pediment with blind and pierced fret carving, supported on bracket feet. 4ft 10ins high.
A pair of George III mahogany Gothic side chairs, in the manner of Thomas Chippendale, circa 1780. This pair of chairs demonstrate the revival of the Gothic style in the mid eighteenth century. The revival of this style reach its height in the decoration of Horace Walpole's villa, at Strawberry Hill, Twickenham. Designs for related chairs are illustrated in Robert Manwaring, The Cabinet and Chair-maker's Real Friend and Companion, 1765, pls 14 and 15; Thomas Chippendale, The Gentleman and Cabinet-Maker's Director, 1st edition, 1754, pl.XXII, 3rd edition 1763, pl.XXV; and William Ince and John Mayhew, The Universal system of Household Furniture, 1762, pl.XXXV.
A George III mahogany supper table, the drop leaf top fitted with a drawer to the frieze above brass chicken wire sides with concave doors to one end, on square legs with brass drum castors, 72cm h; 67 x 98cm Related deisngs for this form of Supper Table were published by Thomas Chippendale in his Gentleman and Cabinet- Maker's Director, 1762, pl LIII. ++Small let in repair to the top; in good condition
A George III mahogany kettle stand. In the manner of Thomas Chippendale. the octagonal pierced fretwork gallery with caddy moulded top rail above a stop-fluted baluster column with a fine leaf carved knop, on a rocaille carved cabriole tripod base with tied acanthus sprays, ending in talon and ball feet. 27.5cm wide, 73cm high
A fine late 18th Century Chippendale period mahogany bureau bookcase, the bookcase over with swan neck cornice on pierced fret supports, united by a floral swag with reeded vase shaped finial, the frieze with dentil and blind fret carving, fitted adjustable serpentine front shelves enclosed by a pair of eighteen pane astragal glazed bar doors, having a finely fitted interior of drawers, secret drawers and central recess behind a concave archetrave panel all beneath the fall flap with four graduated long drawers under, the plinth carved scrolls and acanthus foliage, on bracket feet, 102.5cm (40.5") wide (Promissory notes found in a secret drawer of this bureau link the piece to the possible ownership by William Chippindale of Farnley, the second cousin to Thomas Chippendale see Christopher Gilbert's- Life of Chippendale pp 2,3 and 16)
A George III mahogany chest on chest, circa 1780, 161.5cm high, 113.5cm wide, 58cm deep (faults) The handles on this piece of furniture bear a close resemblance to those on a japanned Clothes Press adjoining the State Bedchamber at Nostell Priory. In The Life and Works of Thomas Chippendale, Page 143, Fig. 263, the design of this handle is stated by Christopher Gilbert as being Chippendale’s favourite early Neoclassical gilt brass loop handle pattern.
A George III mahogany ‘Breakfast table’, circa 1790, after a design by Thomas Chippendale, the serpentine rectangular top above a frieze drawer with green baize lined slide and adjustable reading slope, above two concave doors, the sides with wire work, 71cm high, 8cm wide (overall), 66cm deep Provenance: By family repute this table is possibly from Cardney Hall, Perthshire The handles on this table are the same design as those used for a japanned press supplied by Thomas Chippendale to Nostell Priory (closet adjacent to State bedchamber). This design of this handle is stated by Christopher Gilbert as being Chippendale's favourite early Neoclassical gilt brass loop handle pattern. The handle used by Chippendale is illustrated page 146. (fig 239). The Life & Work of Thomas Chippendale. Macmillan publishing 1978 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
A large mahogany partners' library table In the manner of Thomas Chippendale the rectangular top with gilt tooled burgundy skiver above a fluted and swag-carved frieze with a pair of arched central drawers above substantial wreath-carved pedestals, each with twin lion mask and husk carved pilaster uprights and enclosing folio racks, ending in hairy paw feet, the sides similarly carved and decorated (20th century) 200 cm wide, 83 cm high, 125 cm deep Note: This design is based upon Chippendale's celebrated 'Mahogany Library Table' made for Sir Rowland Winn at Nostell Priory in 1767. Literature: Ralph Edwards, The Dictionary of English Furniture (Antique Collector's Club:1954), p.251, fig.24
Clarke (Harry, illust.). The Year's at the Spring, 1st ed., 1920, 24 coloured plates, original cloth, spine very lightly rubbed, 4to, together with G. Spencer Pryse, The History of Tom Jones. A Foundling, by Henry Fielding, 1930, 20 b & w plates, woodcut illust., original cloth, d.j., large 8vo, plus Baumer, Lewis, Vanity Fair, by William Makepeace Thackeray, c. 1913, 20 tipped-in coloured plates, ownership signature "Nellie Chippendale, 4th Oct. 1919" on front pastedown, with pencil annotation "Descendant of William Chippendale, brother of Thomas C.", original pictorial cloth gilt, 4to, with Browne, Gordon, Adam Bede, by George Eliot, n.d., 16 coloured plates, original pictorial cloth gilt, d.j., together with 7 other illustrated books including The Scarlet Letter (illust. Hugh Thomson) and Lorna Doone (illust. Gordon Browne) (11)
A George III window seat, circa 1775, mahogany, with upholstered rectangular seat, continuing to rolled arms with conforming rolling frame, scrolled up the arms, the serpentine seat rail centred by a circular disc, continuing to moulded cabriole legs with floral sprays to the knees and leaf carved toes (with repairs), 104cm wide, 67cm high, 39.5cm deep. Note: This stool, designed in the French taste, has elegantly formed moulded cabriole legs following a design that first appeared in France in the early 1750s. The first documented example of this style is seen on a suite of furniture, which included a pair of card tables, fourteen armchairs and two sofas, which were supplied by Thomas Chippendale for the Drawing Room at Dumfries House in 1759. The stool is executed in carved mahogany, a timber seldom used in France by chair makers who preferred to use the softer walnut or beech, painted or gilded. It probably formed part of a larger suite of furniture that would have been placed in a drawing room, either in window bays or tiers, being drawn into the centre of the room as necessary.
COLERIDGE, Anthony Chippendale Furniture, The Work of Thomas Chippendale and his Contemporaries in the Rococo Style, London: Faber and Faber 1968, in dust wrapper; GILBERT, Christopher and MURDOCH, Tessa John Channon and Brass-inlaid Furniture 1730-1760, Yale Univeristy Press, 1993, in dust wrapper; HAYWARD, Helen Thomas Johnson and English Rococo, London 1964, in dust wrapper, etc (8)
A pair of cream painted and parcel gilt torchere stands, in George III style, late 19th/ early 20th century, each with a hexagonal top above a pierced baluster shaped stem incorporating scrolls and a central urn, on three outswept cabriole legs carved with lappets and with scroll feet, each 110cm high, 51cm diameter (damage, repair) The design of this pair of torcheres relates to a pair in the collection of Blair Castle, Perthshire, one of which was the result of a commission from Thomas Chippendale, its companion is a 19th century version of the same design.
A George III carved mahogany sofa, circa 1770, in the manner of Thomas Chippendale, with serpentine back, seat and scroll arms, on eight cabriole legs with acanthus carved terminals and scroll toes, 212cm wide (damage, repair, lacking scroll toes to outer back legs) Provenance: Purchased by the current owner from Dreweatt's sale of the property of Sir Francis Burdett's Will Trust, 21st May 1986. Literature: Country Life.Ramsbury Manor, p468-477, 9th October 1920. This sofa is illustrated on page 468. Christopher Gilbert. The Life and Works of Thomas Chippendale. Studio Vista/ Christies 1978. By the 18th century the Burdett family held land and estates in Berkshire, Wiltshire, Derbyshire, Leicestershire and Staffordshire. The principal seats were in Derbyshire at Foremark Hall near Repton, and after about 1790, Ramsbury Manor in Wiltshire. Sir Robert Burdett, 4th Bart. (1716-1797) built the present hall at Foremark. Sir Robert commissioned Thomas Chippendale to produce furniture for the new house. The scale of the commission is revealed by the records kept that between February 1766 and April 1774 he paid Chippendale a sum of ú1228/16/6 (ú1014/14/0 of which was paid for the year 1769 alone). Although no certain attributions to Chippendale were made concerning the furniture in the sale of 1986, several of the pieces, including this sofa, present themselves as prime candidates of being produced as part of the Chippendale commission. The various elements of the design and carving of this sofa, with its serpentine mahogany frame carved with rococo motifs, bears particular similarities to a suite (including a pair of sofas) supplied by Chippendale to the Earl of Dumfries for Dumfries House in 1759 (See Gilbert. pages 195, 133 & 137) The design of this sofa and the Dumfries House example are derived from plate 22 (dated 1759) in the third edition of The Gentleman and Cabinet Makers Director. The design of Chippendale's 'French' chairs such as these, was ingeniously adapted to the taste and wealth of his clients by the subtle use of carved ornament , adapted to suite the decor of the room in which they were to be placed.
Robert Adam (1728-1792) Two designs for schemes at Osterley Park, one with a central flower spray with two poles supporting urns and swags and with two parrots all within an anthemion border, the other with a central floral spray witin an anthemion band, a band of entwined flowers and a geometric and floral border, Pencil and watercolour, One pricked for transfer, sheet size, 50.7cm x 45.5cm. The second possibly a pole screen banner design. Provenance: Commissioned by Robert and Sarah Child from Robert Adam in 1777 for Osterley Park and thence by descent to the Earls of Ducie. Sarah married in 1791, as her second husband, Thomas Moreton, 3rd Baron Ducie and these drawings have since remained in the Ducie family. These three drawings were part of a folio including botanical and ornithological studies which Sarah Child had collected in the 1790's. Some of the botanical and ornithological studies were by George Raper, a Midshipman on the First Fleet to Australia in 1787, which had been acquired by Sarah through her friendship with her near neighbour Sir Joseph Banks. They were bought in 2005 by the National Library of Australia in a Private Treaty sale organised by Dreweatt Neate. Robert Adam is without question the most important neo-classical architect working in Britain during the second half of the eighteenth century. Following success in Scotland with his brothers in the family practice (succeeding their father William Adam 1689-1748) Robert Adam's international reputation stemmed from his Grand Tour to Italy. The three years he spent there from 1754 to 1757 fired his passion for ancient classical forms and decoration. Adam returned to London rather than his native Edinburgh in order to embark upon a career that revolutionised taste in architecture and interior decoration. His drawings from Italy provided a source of direct inspiration from which a substantial number of commissions from the wealthy and aristrocratic were gained. The importance of Adams work at Osterley Park is signified by its demonstration of Adam's invention of the English 'Etruscan' style that was the product of his matured vision. In his book 'Dictionary of Art' Damie Stillman (I.I37) states that 'The Etruscan dressing room is the finest surviving example of his style, inspired by Piranesi and 'Etruscan' vases, but developed by Adam into the height of elegant, brittle and flat Neo-classical decoration'. The fire screen for which this panel was designed survives in situ at Osterley Park in the Etruscan dressing room. The screen was also made to a design by Adam. It has been suggested that Thomas Chippendale made the screen, however other firms to include Linnell and Ince and Mayhew are known to have executed pieces of furniture for the house. Throughout his career Robert Adam kept copies of the designs he provided his clients. Some of the drawings (notably sketch-designs) are from Adams own hand, others were prepared by the assistants he employed. The drawings were kept together by relatives after Adams death until 1833 when a collection of almost 9000 drawings were bought by the architect Sir John Soane. The collection remains in the museum founded in his house in London. Among the collection at the museum are 35 drawings which relate and cover many aspects of the Etruscan Room at Osterley Park. There are four designs in the museum for the embroidered panel of the screen (Vol.17, No.s 141,142,143, 145). According to the account of Eileen Harris (The Furniture of Robert Adam. 1973. Academy Editions. p.105) the final design from which the screen was embroidered is dated 14 April 1777. As the drawing currently being offered is inscribed with the same date and and has been subsequently re-dated May 1777, this would signify that this was in fact the clients copy and the final drawing from which the screen was embroidered by Mrs Child. These three drawings are of particular importance because they reflect the late stage of Adam's development in the Etrus
Robert Adam (1728-1792) 'Design of a Fire Screen for Mrs Child for the Etruscan Room at Osterly (sic)', Pen, ink and watercolour, Inscribed, dated '1777' lower left and dated 'April 14th 1777, altered the 25th' lower right. On one sheet of paper, the centre section cut out and replaced with a revised design and the whole pricked for transfer to the silk banner, 62cm x 47cm. Provenance: Commissioned by Robert and Sarah Child from Robert Adam in 1777 for Osterley Park and thence by descent to the Earls of Ducie. Sarah married in 1791, as her second husband, Thomas Moreton, 3rd Baron Ducie and these drawings have since remained in the Moreton family. These three drawings were part of a folio including botanical and ornithological studies which Sarah Child had collected in the 1790's. Some of the botanical and ornithological studies were by George Raper, a Midshipman on the First Fleet to Australia in 1787, which had been acquired by Sarah through her friendship with her near neighbour Sir Joseph Banks. They were bought in 2005 by the National Library of Australia in a Private Treaty sale organised by Dreweatt Neate. Robert Adam is without question the most important neo-classical architect working in Britain during the second half of the eighteenth century. Following success in Scotland with his brothers in the family practice (succeeding their father William Adam 1689-1748) Robert Adam's international reputation stemmed from his Grand Tour to Italy. The three years he spent there from 1754 to 1757 fired his passion for ancient classical forms and decoration. Adam returned to London rather than his native Edinburgh in order to embark upon a career that revolutionised taste in architecture and interior decoration. His drawings from Italy provided a source of direct inspiration from which a substantial number of commissions from the wealthy and aristrocratic were gained. The importance of Adam's work at Osterley Park is signified by its demonstration of Adam's invention of the English 'Etruscan' style that was the product of his matured vision. In his book 'Dictionary of Art', Damie Stillman (I.I37) states that 'The Etruscan dressing room is the finest surviving example of his style, inspired by Piranesi and 'Etruscan' vases, but developed by Adam into the height of elegant, brittle and flat Neo-classical decoration'. The fire screen for which this panel was designed survives in situ at Osterley Park in the Etruscan dressing room. The screen was also made to a design by Adam. It has been suggested that Thomas Chippendale made the screen, however other firms to include Linnell and Ince and Mayhew are known to have executed pieces of furniture for the house. Throughout his career Robert Adam kept copies of the designs he provided his clients. Some of the drawings (notably sketch-designs) are from Adam's own hand, others were prepared by the assistants he employed. The drawings were kept together by relatives after Adam's death until 1833 when a collection of almost 9000 drawings were bought by the architect Sir John Soane. The collection remains in the museum founded in his house in London. Among the collection at the museum are 35 drawings which relate and cover many aspects of the Etruscan Room at Osterley Park. There are four designs in the museum for the embroidered panel of the screen (Vol.17, No.s 141,142,143, 145). According to the account of Eileen Harris (The Furniture of Robert Adam. 1973. Academy Editions. p.105) the final design from which the screen was embroidered is dated 14 April 1777. As the drawing currently being offered is inscribed with the same date and and has been subsequently re-dated May 1777, this would signify that this was in fact the clients copy and the final drawing from which the screen was embroidered by Mrs Child. These three drawings are of particular importance because they reflect the late stage of Adam's development in the Etruscan style. The drawing for the screen also allows us to trace t
Gilbert (Christopher). The Life and Work of Thomas Chippendale, 2 vols, pub. Studio Vista/Christie's, 1978, numerous b&w illusts, orig. brown cloth gilt in matching slipcase, 4to, together with Hartop (Christopher), The Huguenot Legacy, English Silver 1680-1760 from the Alan and Simone Hartman Collection, pub. Thomas Heneage, 1996, numerous col. and b&w plts. and illusts, orig. cloth in d.j, with slipcase, 4to, plus Fuhring (Peter), Juste-Aurèle Meissonnier, Un génie du rococo, 1695-1750, 2 vols, pub. Umberto Allemandi, 1999, some colour and numerous b&w plts. and illusts, orig. cloth in d.j.s, with slipcase, 4to, and Lewis (Griselda), A Collector's History of English Pottery, 3rd revised ed, pub. Antique Collectors' Club, 1985, numerous col. and b&w plts, orig. cloth in d.j, 4to, plus other antiques reference, similar, 4to/8vo, VG (22)
Lemerger (Ernst). Portrait Miniatures of Five Centuries, pub. Hodder and Stoughton, [1912], numerous tipped-in col. plts., t.e.g., remainder rough-trimmed, orig. gilt dec. vellum, spotted, oval col. portrait mounted to upper cover, lacking silk ties, 4to, together with Loyd (Nathaniel), A History of the English House, from Primitive Times to the Victorian Period, 1951 numerous b & w illusts., orig. cloth gilt, in frayed and chipped d.j., 4to, plus Coleridge (Anthony), Chippendale Furniture, the Work of Thomas Chippendale and his Contemporaries in the Rococo Taste..., 1973, col. frontis. and numerous b & w plts., orig. cloth in price-clipped d.j., 4to, plus thirteen others similar, incl. 'The Royal Pavilian Brighton' by Henry D. Roberts, 'Derby Porcelain' by Barrett & Thorpe and 'English and Irish Glass' by Geoffrey Wills (16)
A large mahogany twin pedestal partners desk, 20th century, in the George II style, designed in the manner of Thomas Chippendale, the moulded eared rectangular top, inset with three gilt tooled leather writing surfaces, each side with a moulded arched frieze drawer above a central kneehole, flanked on each side by a cupboard door with two lions' head and harebell carved scrolled demi-columns, flanking an oval harebell chain moulded panel, enclosing four drawers each to one side, one drawer and folio divisions to the other, the sides similarly decorated, above shaped acanthus carved apron and hairy paw feet, 203cm wide, 81cm high, 127cm deep. Provenance; Property of The Drambuie Liqueur Company.
An early George III mahogany drop flap breakfast table, in the manner of Thomas Chippendale, the rectangular hinged top above a single drawer raised above a lower compartment with wirework sides and twin concave doors to the front, raised on square chamfered legs and terminating in leather-covered castors 100cm wide, 73.5cm high, 68.5cm deep Literature; ‘The Shorter Dictionary of English Furniture’, Ralph Edwards, pp. 516-517 ‘Director’, Thomas Chippendale, 1st Edition 1745, pl. XXXIII
A mid 18th century brass alms dish, engraved with the coat of arms of Sir Rowland Wynn, Nostell Priory, Leeds, with a fold over rim, 52cm diameter The estate of Nostell Priory was acquired by the Wynn family in 1650, and they have held it ever since. The 5th Baronet, Sir Rowland, who succeeded in 1765, commissioned Robert Adam to complete the interior of the house, the decorative painting to Antonio Zucchi, the plasterwork to Joseph Rose the younger, and the furniture by Thomas Chippendale. Nostell Priory has been owned by The National Trust since 1953.
A George III carved mahogany tilt top occasional table attributed to Thomas Chippendale c1765, the circular top with a moulded pie crust edge supported on a demi fluted and acanthus leaf carved baluster column with egg and dart detailing on three cabriole legs with carved knees and scroll feet, top possibly not original, 1ft 8ins diam x 2ft 3ins tall
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 of 1762, 3rd ed., New York, 1938, numerous b & w plts., orig. blue cloth, spine frayed at foot, folio, together with Nicholson (Peter), Practical Carpentry, Joinery, and Cabinet-Making.. Revised by Thomas Tredgold, 1861, eng. frontis. and addn. title-page, 109 eng. plts., hinges split, contemp. half morocco, rubbed, corners showing, sl. loss at spine ends and some surface loss to cloth on upper cover, 4to in 2's, plus Johnson (William), The Practical Draughtsman's Book of Industrial Design.. 2nd ed., 1860, fifty-five eng. plts., most double-page, incl. two col., one plt. and one text leaf loose and sl. frayed at edges, final few leaves with sl. rodent(?) damage to blank fore-margin, hinges strengthened with sellotape, orig. cloth, rebacked preserving orig. spine, faded and corners rubbed, 4to (3)
A ANTIIQUE MAHOGANY SERVING TABLE in the manner of Thomas Chippendale, the top with a gadrooned edge, the friezes with applied C scroll carvings and centred with a shell and scroll carved cresting, square section blind fretted tapering legs, carved block feet, carved corner brackets, 73 1/2" wide, 30 3/4" deep and 34" high.
A George III mahogany serpentine chest in the manner of Thomas Chippendale, with ropetwist and foliate mouldings above brush slide and four graduated long drawers with brass handles and later Rococo style escutcheons, flanked by acanthus leaf carved and blind fret chamfered canted corners on bracket feet
Art & antiques reference, mostly 20th c. pubs., incl. Thomas Chippendale, by Oliver Brackett, Posters, by Bevis Hillier, 1974, English, Scottish, and Irish Table Glass, by G. Bernard Hughes, Art in Advertising, by Percy V. Bradshaw, The Art of Tapestry, by Pierre Verlet, and Others, pub. Thames & Hudson, 1965, etc. (3 shelves)
Furniture: Gilbert, Christopher, THE LIFE AND WORK OF THOMAS CHIPPENDALE, Studio Vista/ Christie's, 1978, in publishers' brown cloth, gilt, 4to, 2 vols in slip case, and by the same author, SELECTED WRITINGS ON VERNACULAR FURNITURE, 1966-98, Regional Furniture Society, paperback edition, 2001.
Brackett (Oliver). Thomas Chippendale. A Study of his Life, Work and Influence, 1st ed., [1924], b & w illusts. from photos., orig. cloth gilt, a little rubbed, 4to, together with Tristram (E.W.), English Medieval Wall Painting. The Thirteenth Century, pub. Pilgrim Trust, 1950, num. col. and b & w illusts., orig. cloth gilt, a little rubbed, with other misc. art and architectural ref., mostly large formatAll ex-lib copies with usual marks. (approx. 50).
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 of 1762 3rd ed., New York, 1938, num. b&w plts., contemp. half morocco, frayed to corners and foot of spine, folio (1).
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