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AN ENGLISH OAK BED19th century, the headboard with arcaded and geometric moulded panelling, 174cm high, the footboard with short turned posts, 54cm high, overall 137cm wide and approximately 207cm long

A CHARLES II OAK AND WALNUT CHEST OF DRAWERS the four long cushion front drawers with moulded panelling and brass drop handles, on short tapered square legs, 101.5cm high x 100.5cm wide x 65.5cm wideProvenance: The Les Watts Collection.

ATTRIBUTED TO JOHN FREDERICK HERRING II (1815-1907) A grey horse and three chickens in a farmyardsigned to the panelling middle right, oil on canvas, 40cm x 50cm

AN ENGLISH OAK CUSHION FRONT CHEST OF DRAWERS17th century and later, the four long drawers with geometric moulded panelling, on turned bun feet, 92cm high x 98cm wide x 62cm deep

A PAIR OF GEORGE III SATINWOOD DEMI-LUNE CARD TABLES the hinged top banded with kingwood and edged with ebony and boxwood stringing opening to a green baize lined interior, the plain frieze similarly inlaid to simulate rectangular panelling, on square tapered legs terminating in spade feet, 75cm high x 94.5cm wide x 46cm deep (2)Provenance: The Grey-Egerton Family, formerly of Oulton Hall.

AN ENGLISH OAK COFFER 17th century, the hinged lid opening to a vacant interior, the front with moulded panelling and remaining old iron escutcheon, on block feet, 62cm high x 175cm wide x 54cm deepProvenance: Retaining an old plaque to the interior inscribed James Reeve, Antique Dealers, Birmingham.

A Heal's limed oak wardrobe, 1930s, with a raised central section, the two doors with octagonal panelling and opening to a top shelf and hanging rail, flanked by two further doors, one enclosing a shelf and hanging rails, the other containing shelves, slides and drawers, all raised on a moulded platform and ball feet, 186cm wide 50cm deep184cm highCondition ReportWith one key. Fair overall. Used condition. The handle to the left centre door is loose and requires resetting. All doors and locks function correctly, with some movement in the handles. Present well with minor signs of old wood worm. Please see the additional images.

Two hardwood doors with glass panelling, painted white, 55 cm wide x 200 cm high and two new hardwood doors with six panels for glass, 84 cm wide x 200 cm high

A 19th Century French walnut commode, the Sienna marble top over three long drawers with parquetry work panelling and brass ring handles, flanked by inlaid turned pilasters on turned tapering legs, 110 cm wide x 50.5 cm deep x 93 cm high

Ca. AD 1000 - 1200.A Seljuk bronze ewer with a pear-shaped body rising toward a tapered neck and curved spout, the lower part of the body is inlaid with floral panelling and rests atop a trumpet-shaped base. The rear of the ewer is adorned with a decorative handle with a stylised protruding thumb rest in the shape of a small bird, complete with a hinged lid. The exterior features incised roundels and panels of intricate motifs. For similar see: MET Museum 33.96.Size: 220mm x 80mm; Weight: 390gProvenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets.

A quantity of Victorian oak panelling, removed from an East Yorkshire property. Buyer to arrange collection through Spicers. PLEASE NOTE THESE ARE NOT AT OUR SALEROOM IN GOOLE.

Ceramics - a Chinese Guangxu period famille rose wash bowl, painted throughout with exotic birds and insects among blossoming prunus, the central well with a Greek key border, panelling to rim, picked out in gilt, 41cm diameter, Qing Dynasty, a/f

Registration No: GF 5087Chassis No: 46163MOT: ExemptSupplied new by Col. Sorrel to 'Montmorensie' and subsequently the property of J.M. Carrick, J. Montgomerie, A.R. Gooda, R.J. Rickards, D.E. Crowther and the vendorOriginal chassis, engine and transaxle. Front axle understood to be of Molsheim manufacture but no number discernedDecidedly elegant Weymann coachworkThere is no doubt ‘La Petite Royale’ succeeded where ‘(La Grande) Royale’ failed in terms of cementing Bugatti’s status as a luxury motorcar manufacturer; little wonder then that the model was reputedly among Ettore’s favourites. Le Patron would surely have approved of this particular example – chassis 46163 – too on the basis that it sports a scaled-down version of the magnificent semi-panelled Weymann Coach body which adorned his personal Type 41 ‘Royale’ when it won the 1929 Grand Prix d'Honneur Concours d'Elegance complete with ‘letterbox’ windscreen, kick-forward A-pillar, D-back and asymmetric rear windows. Invoiced to UK concessionaire Colonel Sorrel on 7th January 1930 for the princely sum of FF63,000 (including FF2,570 of extra fittings), the two-door Fixed Head was delivered a month later. Issued with the London number plate ‘GF 5087’ on April 2nd 1930, the Type 46’s first owner is simply recorded as ‘Montmorensie’ who we presume to have been the artist Sir Miles Fletcher de Montmorency, 17th Baronet Morres of Knockagh. Deriving an income from his Irish estates but residing in the English Capital, de Montmorency seemingly kept the four-seater until 1939/1940 when it was bought by Rodney Clarke Esq. for a mere £30! The co-founder of renowned Bugatti and Maserati specialists Continental Cars (and later Connaught), Clarke believed chassis 46163 to have been the Type 46 that he loaned to Cecil Clutton and Laurence Pomeroy for a test drive which was subsequently written-up in the April 1942 issue of Motor Sport magazine. Hand- and typewritten correspondence on file also reveals that ‘GF 5087’ was the car in which Pamela Clarke ‘missed being born by five minutes’ during 1943.Migrating to Scotland thereafter, the close-coupled four-seater belonged to J.M. Carrick Esq. of Coldstream, Berwick and then John Montgomerie Esq of Castle Douglas. The latter acquired it in 1954 and as the proprietor of James Gordon (Engineers) Ltd set about a ‘chassis up, body off’ restoration. Amazingly, much of the work is chronicled via a series of accompanying black and white photographs. Done on a piecemeal basis, the project had yet to be completed when Robert Prosser (acting on behalf of Robert Gooda Esq.) tracked the Bugatti to Castle Douglas during 1973. In two minds about selling, Montgomerie asked what he felt was an overly ambitious £4,000 for chassis 46163 and was somewhat taken aback to be pretty much handed a deposit there and then. Custodian for less than a year, Mr Gooda had the Type 46 re-registered as ‘GF 5087’ but apparently did little else prior to his premature demise. Advertised for £6,500 in the Thursday February 21st 1974 issue of Exchange & Mart, the Bugatti had in fact changed hands earlier that month being bought by R.J. Rickards Esq. Entering into correspondence with Mr Montgomerie, Mr Rickards received a wealth of information about the mechanical overhaul and was even sent the water pump. The engine is the original factory-fitted unit and is clearly stamped with the numbers ‘79’ and ‘195’. The former is the actual engine number, while the latter is the assembly number (and not that of a correct-type replacement, as had been previously posited). Mr Rickards would own the Bugatti for no less than thirty years during which time he repaired the ash frame, had the fabric panelling renewed in Blue by coachbuilder I. Wilkinson & Son of Derby and retrimmed the interior etc but, like his predecessors, did not finish it. Sold to its previous keeper Douglas Crowther Esq via the agency of Gavin McGuire Fine Automobiles in 2004, the Type 46 was further improved with all six of its alloy wheels being expensively refurbished before entering the current ownership a decade later.An automotive engineer by profession whose career took him all over the globe on various troubleshooting and project management missions, the vendor has had a lifelong passion for motorcars. Inspired by a petrolhead stepfather and racing driver mother, he has undertaken numerous restorations over the years and still has a 1932 Alvis which has been in his family since new. As well as completely rewiring the Weymann Coach including rejuvenating the ignition system (no mean feat given the lack of available information on the twin-plug set-up), he has had the instruments restored and the interior trim completed. Thought to have begun life with Marchal lighting, ‘GF 5087’ switched over to Scintilla components early in its life (the fuse box and horn are marked Scintilla too). More original than many surviving Bugattis, chassis 46163 has recently been inspected by the marque historian and Honorary Registrar of the Bugatti Owners’ Club, Mark Morris. Keen to be as authentic as possible in his endeavours, the seller has persisted with the Smith-Bariquand carburettor and reinstated the full-length running boards (a task made easier by the presence of the factory mounting holes). The ‘Metro Fully Flush Sliding Roof’ remains in situ and operational. Although a going concern, ‘GF 5087’ has yet to be run-in and / or de-bugged since the completion of its protracted, seven-decade, refurbishment. Housed within an engine-turned aluminium panel, the Jaegar instruments encompass a 150kmh speedometer and zeroed odometer.Aesthetics are subjective but we consider chassis 46163 to be among the most attractive Type 46s to have survived. Our sentiments being presaged by Cecil Clutton in Motor Sport eighty-two years ago: ‘This particular car is undoubtedly one of the most handsome ever, as is universally agreed by all beholders . . . The body is a two-door, four-light Weymann, with a large travelling trunk behind. The wheels are of the aluminium type. Some 5-litres are rather “lumps” in appearance, but this one is essentially “sleek.” An overall height of only 5’ 3”, as against a wheelbase of no less than 11’ 6”, largely contributes to the exceptionally fine appearance’. The potential jewel in many a collection and a fabulous opportunity for Bugattistes everywhere, this glorious ‘Petite Royale’ is offered for sale with V5C Registration Document, history file, Mark Morris report and spare block (which was purchased from marque specialist ‘Ivan Dutton’ on a ‘just in case / you never know’ basis).For more information, please contact:Damian Jonesdamian.jones@handh.co.uk07855 493737

Victorian oak and pine tavern-style hall settle with stained canopy back and hinged seat, scroll armrests and panelled front, 197cm high, 116cm wide and 51cm deep.The floor to seat height is approximately 48cm.  The measurement of the top panels is approximately 184cm high.  There are gaps to the panelling of the canopy back.  Prominent staining all over.  Splits to the join on the seat.  Left arm rest is loose.  Prominent age-related staining and surface marks all over.

A 17th century and later oak full tester bedstead with moulded cornice and stop fluted acanthus carved columns, head and foot boards inset with foliate scroll carved panels within guilloche borders, on turned front feet and squared back stile feet, 160cm wide, 212cm long, 204cm high This bed looks to have been reconstructed using some old panelling, but is predominantly 20th century, overall of a rich polished dark blackish brown tone, frame is solid but some attention to the join bolts is required.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A pair of wrought iron and gold oak bar stools with coloured glass panelling, width 37cm, height 104cm. Condition - fair

[DIANA]: (1961-1997) Princess of Wales, the first wife of King Charles III (when Prince of Wales). SPENCER CHARLES (1964- ) 9th Earl Spencer, Viscount Althorp. British peer and author, the younger brother of Diana, Princess of Wales. Book signed, being a hardback edition of Earl Spencer´s Tribute to Diana, Princess of Wales, privately published, Althorp, 1997. The handsome edition features the full text of the eulogy the Earl gave at the funeral of his sister, Princess Diana, at Westminster Abbey on 8th September 1997. Signed (´Charles Spencer´) by the Earl in blue ink to the first page. Attractively bound in silk boards with gilt stamped title to the spine and a printed label to the front cover within gilt panelling and with marbled endpapers. Contained within the original blue card presentation box with the Althorp device printed in silver to the lid. Some very light, extremely minor age wear, VG

A pair of antique oak linen-fold paneled cupboard doors Each door with six panels, of pegged construction, and with iron strapwork hinges. The linen-fold panelling reputedly originally in a church.Each door 64cm wide x 139cm highQty: 2Signs of re-use. In as found condition.

Sid Pollard (ex. Mouseman) - Yorkshire oak blanket chest, all over panelling, enclosed by hinged lid, on octagonal feet, interior plaque inscribed 'S. Pollard, Bagby, Thirsk, Yorks' Dimensions: Height: 58cm  Length/Width: 108cm  Depth/Diameter: 40cm

A two-tone mink and leather coat, featuring brown leather panelling, front button fastening, waist belt and two exterior pockets, chest measures approximately 34 inches- Overall good condition- No obvious fur wear or damage- Condition reports are a guide only and clients are advised to view items before bidding- For enquiries about this lot please contact Sophie Osborne at sophie@kinghamsauctioneers.com

A late Victorian bedside table with carved panelling and aesthetic influences, 87cm (h) x 39cm (w) x 36cm (d) / Please bring equipment and labour to assist with removal of all lots. All lots are located at St. Marys Cottage, Old Lane, Dockenfield, Farnham, Surrey, GU104HG. Viewing and collections are via appointment only, please see our important sale information for more info. Collections must be completed by Thursday 26th September due to premisis move. Regretfully Wellers are unable to offer any type of packing or shipping.

A FINE AND RARE CHARLES II OLIVEWOOD OYSTER VENEERED SMALL LONGCASE CLOCK OF ONE MONTH DURATION THOMAS TOMPION, LONDON, NO. 136 CIRCA 1688/89The substantial six finned and latched pillar movement with five-wheel trains and plates measuring 8 by 5.5 inches, the going train with bolt-and-shutter maintaining power and anchor escapement regulated by seconds pendulum with long crutch, the strike train with external countwheel set on a pivot-post driven by a pinion-of-report applied to the second wheel arbor and sounding the hours on a bell mounted above the plates, the 'type 1' latched 10.25 inch square gilt brass dial with shuttered winding holes, subsidiary seconds dial and calendar aperture to the finely matted centre within applied silvered Roman numeral chapter ring with cruciform half hour markers and small Arabic five minutes beyond the outer minute track, with sculpted scroll pierced steel hands and applied winged cherub mask spandrels to angles within a 'double herringbone' engraved outer interrupted by the engraved signature Tho: Tompion Londini Fecit to lower margin, in an oyster olive wood veneered case with rising hood incorporating architectural ogee moulded cornice and oyster veneered frieze over glazed dial aperture flanked opposing Solomonic twist columns, the sides with rectangular windows and conforming quarter columns set against bargeboards at the rear, the trunk with convex throat moulding over 40 inch rectangular door veneered with three linked boxwood outlined architectural break-arch panels populated by oyster cut veneers incorporating geometric radial design to the central panel, with half-round cross grain edge mouldings and crossbanded surround, the sides veneered with repeating oysters with a conforming crossbanded border, the base with stepped ogee top moulding over conforming architectural panel veneered crossbanded front and moulded skirt.186.5cm (73.5ins) high, 43cm (17ins) wide, 25cm (9.75ins) deep. Provenance:The Leonard Fuller Collection, purchased from G.H. Bell, Winchester, 6th September 1966 for £6,170. Purchased by G.H. Bell from Sotheby's, London, sale of FINE ENGLISH AND CONTINENTAL FURNITURE, RUGS AND CARPETS, TAPESTRIES AND CLOCKS 21st May 1965 (Lot 55) 'The Property of a Gentleman' for £1,600 hammer. Thomas Tompion has often been referred to as the 'father of English clock and watchmaking'. When considering the legacy of his work and influence on subsequent generations, such a compliment is justly deserved. Born in Ickwell, Suffolk in 1639 Thomas Tompion appears to have developed an affinity for metalworking from his father, also named Thomas, who worked as a blacksmith. By 1670 Tompion had moved to London and was working in the clock and watchmaking trade. Although there is no record of his apprenticeship or whether he received any formal training prior to moving to London, he quickly became established and obtained his freedom of the Clockmaker's Company in late 1671. His early clocks demonstrate a close working relationship with the Fromanteel, East and Knibb workshops. Around this time Tompion became friendly with eminent mathematicians and scientists such as Robert Hooke and Jonas Moore - perhaps the most progressive and inventive minds of the day. Such associations lead to Royal commissions, firstly from Charles II for whom Tompion is known to have made one of the earliest balance-spring watches in 1676 and later William III who ordered numerous clocks to furnish his various palaces throughout his reign. As well as being an extremely talented artisan Tompion was also commercially minded, cleverly introducing serial numbering for his watches and clocks from around 1681/2. This, as well as maintaining a high degree of refinement in both the design and construction of his clocks and watches, ensured the highest level of exclusivity for clients purchasing from him. In around 1701 Thomas Tompion took a former apprentice, Edward Banger, into partnership. Banger was originally apprenticed to Thomas Ashby in 1687 but was transferred over to Tompion and gained his freedom of the Clockmaker's Company in 1695. He was clearly a talented maker (when considering the few examples signed by Banger alone) however a serious problem between him and his former master caused the partnership to come to an abrupt end in 1707-8 for reasons unknown. On Banger's departure Tompion reverted to working alone until he found confidence in George Graham who had been engaged as a journeyman for Tompion since 1696. Graham's character had already been given the seal of approval by Tompion who allowed him to marry his niece, Elizabeth, in 1704; however it still would be a few years before Tompion would take Graham into partnership which he eventually did in 1711.Thomas Tompion died in November 1713 leaving the business to George Graham who maintained the same exacting standards and became famous in his own right with notable achievements including the development of the deadbeat escapement for pendulum clocks and the cylinder escapement for watches. Edward Banger outlived Tompion by six years, his abilities as a highly skilled watchmaker are demonstrated within a fine jewelled movement dating to around 1715 by him illustrated by him in Evans, Jeremy THOMAS TOMPION at the Dial and Three Crowns page 54, Fig. 97. The movement and dial of the present lot conform to the 'type 1' phase of Tompion longcase clock development as set-out in Evans, Jeremy; Carter, Jonathan and Wright, Ben THOMAS TOMPION, 300 YEARS pages 197-217. The dial is indeed a 'textbook' example of its type and can be directly compared to that of another month longcase (number 14) with double wheat-ear border by Tompion, illustrated in Symonds, R.W. THOMAS TOMPION on page 78 (Figure 54). The movement conforms to Tompion's standard layout for a month duration longcase clock with another of near identical design (number 223) illustrated by Evans, Carter and Wright on page 204. Indeed, the only real variances between these movements are that the present lot has taller plates and no pallet-shaped cut-out to the backplate; both of these features are due to current movement being an earlier example. Tompion's work is characterised by an exceptional approach to the finishing of his movements; the present lot does not disappoint with finely cut graded wheelwork and superb shaping to the steelwork most notably to the hammer spring tail, bell stand foot and barrel click springs.Although the case is not original to the movement and dial it is 'of the period' and a comfortable match benefitting from not having a lenticle (Tompion's preference) and pleasing detailing on the panelling of the veneers. Indeed, the case fulfils the list of criteria listed by Evans, Carter and Wright, with regards to features expected in a 'Type 1', case on page 197.  

A REGENCY MAHOGANY CLOTHES PRESS CIRCA 1815 The doors opening to five sliding trays, the pressed brass handles to the drawers decorated with a portrait roundel of Admiral Lord Nelson above 'TRAFALGAR, VICTORY' 208cm high, 126cm wide, 60cm deep Condition Report: Marks, scratches and abrasions comensurate with age and use. Minor old chips and splits comensurate with age. The press looks to have been highly sympathetically restored previously so any old marks do not stand out. The press is in very good presentable condition overall with a very good depth of colour and patina. It is in good original condition throughout. The locks and handles are all original. A key is present to lock the cupboard doors. There is no key to lock the drawers currently. The lower corners of some of the drawer locks of the top two drawers are secured with small old hand clobbered nails rather than screws, the screws to the two lower corners of the next drawer down are lacking. The slides to the cupboard section are all present and originalThe feet are original and a sophisticated tapering shape. Other features such as very fine stringing to the panelling of the doors and the cornice further demonstrate the overall high quality of craftsmanship and quality The top two drawers are solid cedar lined, the longer drawer linings have oak floor sand the remainder is cedar. This is a sign of a sophisticated and high quality item made to a very high standard. Very interestingly and a rare feature, the original handles have embossed/ pressed decoration depicting a central profile portrait of Admiral Lord Nelson, flanked to the left by trophy emblems and to the right by a ship. These handles would have been made and purchased by the buyer to show their admiration of Nelson's naval accomplishments.Please refer to all additional images available via email for visual reference to condition. Condition Report Disclaimer

Y&nbspA GEORGE III MAHOGANY CLOTHES PRESS BY GILLOWS, CIRCA 1770 The top edge of one drawer stamped GILLOWS LANCASTER 193cm high, 128.5cm wide, 64cm deep Please note, Dreweatts have applied for a de minimis exemption certificate for the ivory in this lot (Ref: 96XST3CA)Please note, additional to the printed catalogue description, this press is stamped GILLOWS LANCASTER (to the top edge of one drawer) It can therefore be conformed that this press is by Gillows. Condition Report: Please note, additional to the printed catalogue description, this press is stamped GILLOWS LANCASTER (to the top edge of one drawer) It can therefore be conformed that this press is by Gillows. Marks, scratches and abrasions comensurate with age and use. Minor old chips and splits comensurate with age. some small losses including some small leaf details of the upper frieze. (these could be re-carved and very well matched by a restorer as required.)Fading overall. The colour could be made darker if required by attention from a qualified restorer. Lacking keys. The locks and handles are all original. The handles are a model known to have been used by Gillows and seen on a number of items of furniture known to be by the firm. There is no key to lock the drawers currently. The slides to the interior of the cupboard have been removed and are not present. A modern hanging rail has been fitted into the cupboard section.The feet are original and a sophisticated tapering shape. Other features such as very fine banding to the panelling of the doors and carved elements to the cornice further demonstrate the overall high standard of craftsmanship. The drawers are oak lined. The rear panels are original throughout. Some very minor evidence of old worm int he form of a small number of worm holes to the upper frieze (these could be disguised by a restorer. Little or no other evidence of worm to the remainder of the exterior of the piece. Please refer to all additional images available via email for visual reference to condition. Condition Report Disclaimer

Younger - A mid century circa 1970s Younger Toledo oak sideboard credenza. The sideboard having chamfered top over a row of three drawers, each with ornate brass swing handles, over twin door cabinets, each with deep fielded panelling to doors.  Measures 78cm x 207cm x 48cm.

A 19th century hardwood panel carved with lotus flowers or chrysanthemums. Likely a fragment taken from panelling or a large piece of furniture. 32cm x 122cm; together with a small 19th century carved painted and gilded wood fragment with birds and blossom in relief, now mounted to be hung on the wall 49cm x 19cm (2)

ORNATE SILVER CARD CASE WITH LEATHER INTERIOR & SILVER PANELLING PENCIL

Sections of oak panelling. Condition - poor-fair Dimensions:Four at 200 x 198cmTwo small cupboard panelsTwo fluted columns. Dimensions of the columns: 8 feet 244cm high 26cm wide

Antique Tin Metallic Trunk w/lustre internal panelling - 94x49x31cm

Two pieces of carved oak panelling , each approx. 72 x 15cm

A French 19th century Louis XV style kingwood mirror front armoire wardrobe. The wardrobe having a  carved foliate embellishment atop over a domed top with in relief panelling. Twin doors below with central bevelled edge mirror plates. Shaped apron below, with all on raised scrolled legs. Lacking four door hinges. Measures approx. 246cm x 116cm x 49cm. 

A 20th century pine wood country house wall hanging glazed front bookcase cabinet. The bookcase having a straight flared top over twin glazed doors with wooden panelling. Shelving interior with brass knob pull handle. Measures approx. 131cm x 92cm x 32cm.

THE ORIGINAL CAST BY WILLIAM SCOULAR (1796–1854) AN EARLY 19TH CENTURY PLASTER OF PARIS CAST OF THE SKULL OF ROBERT THE BRUCE (1274–1329) modelled naturalistically, engraved to the neck, ‘O’NEIL EDINBRO', with handwritten note ‘lent by Stewart Robertson Colquhalzie’ ‘Cast of the skull of King Robert Bruce’, the original cast by William Scoular, this was perhaps the hand of a student or contemporary 22cm high  James Stewart Robertson of Edradynate EstateFamily Descent from a Perthshire family Collection  Robert the Bruce (1274-1329)Robert the Bruce, was King of Scots from 1306 until his death in 1329. He defeated Edward II of England at the Battle of Bannockburn in 1314 made famous in the lyrics of ‘The Flower of Scotland’ anthem. Most notable during his reign, the Declaration of Arbroath was submitted by the Scottish nobility to Pope John XXII in support of Robert I verifying the Scottish Kingdom. This culminated in Edward III renouncing any English claim to the Scottish sovereignty. His dynasty continued even after the exile of his son as the first Stewart King was the grandson of Robert I through his daughter.Bruce died in 1329 and was interred at Dunfermline Abbey, where his body lay for almost five hundred years, until 1818, when the Abbey's Great Tower collapsed. The early 19th century was an awakening for the Scottish identity. George III’s visit to Scotland in 1822 helped ease tensions within the kingdom and the growing appetite for the Scottish was further bolstered by key proponents such as Walter Scott who organised the King’s visit along with The Waverly Novels published around this time.  When the tomb was uncovered, it presented a perfect opportunity to examine the remains and the tomb itself and celebrate the history of such an important Scottish King. The sculptor William Scoular (1796-1854), under the supervision of the Professor of Surgery at University College (1834-1847), Dr. Sharpey, examined the skull of Robert the Bruce and created various plaster of Paris copies. A well-regarded figure in his field, other important commissions include a sculpture of the Princess Elizabeth of Clarence (1820-21) in the Royal Collection accession number RCIN 53354, and James Watt (1736- 1819) held in the Glasgow Life Collections, accession number S.149. Although the number of copies has not been confirmed, there are copies in important collections including The National Portrait Gallery, accession number PG 914 A, the Hunterian collection, accession number, GLAHM:C.1929.11.Unsurprisingly Abbotsford House also has another copy as Walter Scott was a major exponent of Scottish heritage and acquired panelling from Dunfermline Abbey and relics from the tomb itself. The accession number for the skull is T.AT.1488. We believe this piece to have been acquired by the current vendor’s family at the time, with the handwritten note ‘Lent by Stewart Robertson Colquhalzie'An important piece of Scottish history both telling the story of a Scottish King, but also the early 19th century fascination with the Scottish identity. A rare opportunity to acquire a museum artefact at auction.  

A section of late 17th/early 18th Century joined oak wall panelling of six fielded panels. 82" x 57".

Lloyd Loom - An early 20th century Lloyd Loom ottoman / blanket box. The blanket box having a velvet upholstered top, with woven gilt coloured panelling to sides, raised on block feet. Measures approx. 

Barraclough of Howarth - An early 19th century George III oak and mahogany cased grandfather longcase clock. The clock having face hand painted with demi lune scene of a provincial maiden in rural setting and rose bud spandrels to corners. The case having crested panelling and being raised over bracket base. Measures approx. 230x55x25cm

PITCH PINE PANELLING

OAK SMOKERS STAND WITH ART NOUVEAU PANELLING, 2 SCOTCH POROUS PIPES INSIDE

F. Tibbenham, a scale model of 'Sparrowe's House' or 'The Ancient House', Ipswich, 19th century, worked in plaster on a wood frame, realistically modelled to include the fine carving and pargetting associated with this historic building, the interior detailed with panelling, fireplaces and staircase, accessed by hinged front sections61 x 68.5 x 30.5cmProvenance:Sale; Bonhams, Fine Dolls, Teddy Bears, Dolls Houses, Trains, Toys & Lead Soldiers, 17 November, 2009, lot 299

A Welsh (Camarthen) oak coffer/cupboard, late 18th century, with a pair of distinctive lancet panel doors flanked by fluted pilasters above three blanked apertures, the base with three short drawers over two short and one long drawer on shaped bracket feet.137 cm wide x 61 cm deep x 190 cm overall heightA private estateTop section of the cornice is a later addition and is now warped and cracked. Cracking to side panelling and signs of woodworm. Interior with a single shelf (a second shelf missing). Interior base panels to top section missing. Cracking to ogee arch panels on the front. Parts of moulding on the base missing. Joints in side panelling now opening. Drawer linings are all loose with splits to the base boards. Sections of the bracket feet are missing and worn.

Registration No: CKW 900 Chassis No: T76465 MOT: Exempt • A very nicely detailed 'Nippy' Evocation built around a genuine Austin body • Painstakingly assembled by the vendor over a twenty-year period using professional help • A 'labour of love' that cost some £21,000 • Tuned engine, four-speed manual gearbox, authentic tool kit and mounts etc Brainchild of Herbert Austin and Stanley Edge, the Austin Seven looked almost impossibly small when launched in 1922. Based around an 'A-frame' chassis equipped with all-round leaf-sprung suspension, four-wheel drum brakes and a spiral bevel back axle, it was powered by a sewing machine-esque 747cc sidevalve four-cylinder engine allied to three-speed (later four-speed) manual transmission. An evolution of the Type EB ‘65’ which itself had been inspired by the legendary Type EA Sports ‘Ulster’, the Type AEB ‘Nippy’ arrived during 1934. Visually near identical to its immediate predecessor with the same low-slung stance and distinctive rounded tail, the newcomer was predominantly bodied in steel over an ash frame (though, early cars utilised the same aluminium panelling as the Type EB ‘65’). Powered by a tuned engine allied to four-speed manual transmission and benefiting from a lowered centre of gravity, the Type AEB ‘Nippy’ proved an amusingly brisk and chuckable sports car. Phased out in 1937, total ‘Nippy’ production is thought to have amounted to just c.800 cars. Among the more characterful Seven models, the 'Nippy' has inspired a host of imitations / recreations over the years. Missing the Nippy he owned from 1968-2020, the vendor set about having a replacement effectively scratch-built. Based on a later chassis but with a genuine Nippy body and Sports engine, this Evocation is worthy of close inspection. Bead blasted, ‘boxed’ for extra strength and black enamelled, the chassis carries a correct bowed front axle, strengthened steering radius arms, Nippy 9E steering box, Andre Hartford front / longer lever-arm rear dampers and overhauled brakes. Sitting on a new ash frame, the body panels were assembled and painted Signal Red by Paul Williams of Seven Rebuilds. Rewired throughout with armoured cabling, the two-seater was entrusted to Ruairidh Dunford of Alba Austins for an exhaustive engine overhaul complete with Kent ‘fast road’ camshaft, 9E large capacity finned aluminium sump, 14-bolt cylinder head, 9E inlet manifold and Phoenix crankshaft / conrods etc. The Zenith 30 VM–5 carburettor was refurbished by Steve Hodgson, while Vince Leek rejuvenated the Sports gearbox (marked with ‘S’ to the rear). The starter motor and dynamo were renovated by QX Components and the upholstery renewed with correct pattern ribbed leather. The wire wheels were powder coated and shod with fresh tyres. Derby Plating restored the brightwork and Jess Dilley re-cored the radiator. The project cost over £21,700. For more information, please contact: Damian Jones damian.jones@handh.co.uk 07855 493737

A banded agate shield shaped centre, shoulders and shank have black enamelled 'In Memory Of' panelling. Reverse has an empty compartment. Engraved 'Jno Cottingham died 27 March 1845 aged 77'. Unmarked yellow metal mounted. Finger size L.5. Weight 2.7g.

A 19th century Victorian pine wardrobe. The wardrobe having pediment to top over central mirrored door with ceramic knob handle flanked by panelling over a plinth base. Measures approx. 192x145x51cm

Matchbox Models of Yesteryear  Y21 1930 Ford Model A Woody Wagon Pre-production colour trial model pair  - (1) dark red bonnet and chassis without model number cast and incomplete copyright date, bright yellow seats, dark brown woodwork effect panelling without lighter tampo for two-tone effect, similar colour roof without black colouring, chrome 24-spoke wheels (2)  dark cream bonnet, two-tone brown body with black roof, brown seats, dark brown chassis, without model number cast and with incomplete copyright date,  - Excellent Plus unboxed. (2)

A pair of vintage 20th century utility painted chest of drawers. Rectangular form with a bank of six drawers, raised on a plinth base with shaped pull handles. Panelling to sides. Measures approx. 111cm x 61cm x 42cm. 

AN OAK SERVING TABLE constructed from 17th century and later elements, the upper section fitted with carved panelling, held on turned supports, the base with two short drawers, on heavily carved legs, 151cm high x 162cm wide x 62cm deepProvenance: Great Hayes, Surrey.

AN OAK WAINSCOT ARMCHAIR mid 17th century, the square back with foliate carved panelling, on turned legs joined by turned stretchers, 111cm high x 56cm wide x 54cm deepProvenance: Great Hayes, Surrey.

Early 20th century oak blanket chest, rectangular hinged lid with decorative panelling, the front and sides adorned with beaded panels, on cabriole feetDimensions: Height: 55cm  Length/Width: 111cm  Depth/Diameter: 42cm

DEUTSCHLAND "Große Kassette", 925er. Silber, 20.Jh. Juweliersmarke: "Val. Höcher München", die schwere Schatulle hat eine rechteckige Form auf getrepten Füßen stehend, der Deckel ist mit einem Randdekor versehen, Holzverkleidung innen, Gestempelt auf dem Korpus, Gesamtgewicht: 1236 g. HxBxT: 7,5/22,5/15,5 cm. Alters-und Gebrauchsspuren.| GERMANY ‘Large cassette’, 925 silver, 20th cent. Silver, 20th cent.Jeweller's mark: ‘Val. Höcher München", the heavy casket has a rectangular shape standing on stepped feet, the lid is decorated with a rim, wooden panelling inside, stamped on the body, total weight: 1236 g. HxWxD: 7.5/22.5/15.5 cm. Signs of age and use.

A George III 'Gothick' mahogany open armchairAfter designs by Robert Manwaring and certainly influenced by a Thomas Chippendale design, with restorationsThe square back with re-entrant upper angles and blind fretwork rails of elongated double-sided cusped arches interspersed with quatrefoils, the open rose form splat comprised of a central rosette encompassed by eight radiating flared cusped arches, with matching arms and with associated gros and petit needlework seat upholstery, on cluster column front legs terminating in block feet, with splayed square section rear legs, largely re-railed, one original section of the railing remains, approximate depth of the seat: 52cm, 68cm wide x 94 cm high.Footnotes:In 1754, a 'Gothick' fretted parlour chair was invented for the author, antiquarian, academic, collector and connoisseur Horace Walpole for his castellated villa, Strawberry Hill, in Twickenham. In the same year Thomas Chippendale issued patterns for related 'Chinese' railed chairs in his seminal publication, The Gentleman and Cabinet-Maker's Director, pl. XXIII. Subsequently, the third edition of Chippendale's Director, published in 1762, features an engraving, itself dating to 1761, of a 'Gothick' chair with a similar cusped 'rose' splat to that on the present lot, pl. XXV. Alongside this design Chippendale notes that it would be 'proper for a library'. This same plate also appears in Pictorial Dictionary of British 18th Century Furniture Design, compiled by E. White, 2000, Woodbridge, p. 67. However, the offered example, with its distinctive rose window form splat and elegant cluster column legs, is arguably more closely related to a 'Gothick' design executed by Robert Manwaring. This Manwaring drawing is illustrated in the c.1765 second edition publication by the London based 'Society of Upholsterers' called Genteel Household Furniture in the Present Taste, pl. 15. Indeed, the latter is replicated in Pictorial Dictionary of British 18th Century Furniture Design, op. cit., pl. 15.Two further comparable models of 'Gothick' chair designs which originally appeared in Robert Manwaring's 1765 publication, The Cabinet and Chair-Maker's Real Friend and Companion, pl.'s 14 and 15, also again feature in the Pictorial Dictionary, op. cit., pl.'s 14 and 15, p. 79.An identical armchair to the offered lot sold Christie's, London, Important English Furniture, 14 June 2001, lot 29. A pair of very closely related chairs, of the same approximate date and likewise evidently after a Manwaring design, sold Christie's, New York, 16 April 2002, Important English Furniture, lot 3. Another chair of this general type sold Christie's, London, 26 February 1981, lot 60. Whilst a set of eight, including two armchairs, which have similar quatrefoil panelling to their frames sold Enniskerry, Co.Wicklow, Ireland, Christie's house sale, 23 January 1978, lot 97.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A Dutch late 18th century ormolu mounted kingwood, satinwood, amaranth, tulipwood and fruitwood marquetry secretaire à abattant attributed to Matthijs Horrix (1735-1809)Of unusually small size, the grey marble rectangular top with moulded edge above a veneered dental mounted frieze and a floral inlaid fall enclosing a fitted interior of four drawers, a central cupboard, with a further drawer and an open compartment, the base fitted with three drawers, flanked by angled corners mounted with columns, the sides inlaid with ribbon tied musical trophies with a guilloche border to the base on faceted tapering legs inlaid with trailing bellflowers, 81.5cm wide x 44.5cm deep x 109.5cm high, (32in wide x 17.5in deep x 43in high)Footnotes:ProvenanceThe present lot was formerly with Pieter Hoogendijk Antiquairs, Baarn, 1996.From the collection of the late Cornelis Paulus van Pauwvliet.ExhibitedPieter Hoogendijk Antiquairs, PAN Amsterdam, 1996.LiteratureAnnigje Hofstede, Nederlandse Meubelen: Van Barok Tot Biedermeier, 1700-1830, 2004, fig. 303, p. 181.Matthijs Horrix (1735-1819) was the foremost cabinetmaker in Holland during the second half of the eighteenth century. Born in Germany near the Dutch border, he was admitted to the furniture makers' guild in The Hague in 1764 and straightaway set out upon a brilliant career. He quickly became the principal supplier of veneered furniture to the stadholder, Prince William V of Orange, who in 1767 married Princess Wilhelmine of Prussia, and to the aristocratic clients that converged onto The Hague, the city where the court, the government and the embassies were established. But his workshop, which soon became the largest in the city and which, unusually, he extended to encompass chair-making and upholstery in the manner of the great London furniture firms, also worked for less exalted clients. Horrix was all but unique in acquiring fame throughout the seven United Provinces that together constituted the Dutch Republic: when clients in faraway towns wished to obtain a truly exquisite piece of furniture, they turned to Horrix. Nothing is known about Horrix's training, but it may be assumed that he spent time as a journeyman in Paris, where of course many of the leading ébénistes were of German origin. When Horrix named his shop in The Hague 'In the commode of Paris', this was most likely intended to keep the memory of an apprenticeship in the French capital alive, as well as highlighting his principal speciality. All over Europe, a floral marquetry commode in the Parisian style became the fashionable piece of furniture par excellence in the early 1760s, and Horrix was undoubtedly the main exponent of this trend in The Hague. For the marriage of the stadholder in 1767, Horrix was commissioned to deliver considerable quantities of marquetry furniture, doubtless all in the latest French manner. Right until William V and his family were forced to flee to England because of the French invasion in 1795, he remained their principal cabinet maker. Princess Wilhelmine, who mentions him in several of her letters, had a special predilection for his work. She ordered many fine pieces for her private apartments and actively influenced stylistic decisions: for example, in 1780 she supplied Horrix with Japanese lacquer panels to set into commodes. Marquetry furniture inlaid with Chinese or Japanese lacquer is a staple of late eighteenth-century Dutch furniture, and Wilhelmine may have played an important role in fostering this taste. In 1790-1791 Horrix provided the panelling, inset with Chinese lacquer, and all the lacquer-mounted furniture for the new Audience Chamber in Huis ten Bosch, the stadholder's palace outside The Hague, which is now the principal residence of King Willem Alexander and Queen Máxima.It wasn't until the 1990s that part of Horrix's work was identified. Although the French invaders sold nearly all of the stadholder's collections after 1795, a few marquetry commodes in the Dutch royal collection were recognized as being part of his deliveries from the late 1760s. Comparison with these rare items led to further attributions, and a stylistic development could be traced that culminates in the lacquer-mounted room at Huis ten Bosch. Cees Paulus van Pauwvliet was deeply interested in this development, and became very keen to own some of Horrix's work. The large and bulbous Louis XV commodes that are typical of the cabinetmaker's early production seem not to have caught his fancy, or may simply have been too big for his apartment. Instead, he acquired a fine group of two marquetry commodes including the present lot of a small secretaire in the Louis XVI manner. These can be securely attributed to Horrix because of close stylistic affinities with documented pieces. Inevitably, there is now a trend to attribute any fine piece of Dutch marquetry furniture to Horrix, especially when it is inlaid with lacquer panels. However, Paulus van Pauwvliet went for the best; typically, he was so interested in the whole issue that he also bought a marquetry secretaire in the French manner that clearly is not by Horrix, but by an anonymous, perhaps slightly less gifted Dutch maker (lot 54).On Matthijs Horrix and his work, see Reinier Baarsen, 'In de commode tot Parijs tot Den Haag', Matthijs Horrix (1735-1809), een meubelmaker in Den Haag in de tweede helft van de achttiende eeuw, Oud Holland 107 (1993), pp.'s 161-255.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A Regency mahogany breakfront bookcaseCirca 1820, retailed by Abraham Solomon, possibly made by GillowsThe ogee moulded and ribbed cornice above a large central bay comprised of a pair of pointed arched astragal glazed panelled doors, enclosing four long adjustable shelves, flanked by two smaller end doors with conforming astragal glazed panelling, enclosing eight short adjustable shelves, interspersed by four panelled pilaster angles, over a breakfront base comprised of a central pair of re-entrant panel moulded doors, enclosing three long slides applied with various early 19th century inscribed paper labels, flanked by eight graduated drawers, stamped three times: 'A. SOLOMON, 59 GREAT QUEEN ST.' 282cm wide x 49cm deep x 260cm high, (111in wide x 19in deep x 102in high)Footnotes:Abraham Solomon is recorded in 1839 as a furniture broker whose firm was located at 59 Great Queen Street, London, which is the same address as features on the stamps to the present lot, The Dictionary of English Furniture Makers, 1660-1840, ed. by G. Beard and C. Gilbert, 1986, p. 838. Evidently there are a number of late Georgian pieces which bear this same stamp, although it is unclear exactly how many. It is also not known for how long the business operated in this capacity. It seems probable that such items thus marked were effectively sold by Solomon as fairly recent second hand furniture at that time.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A Regency ormolu mounted rosewood and parcel gilt secretaire cabinet/chiffonier attributed to John McLean (1770-1825)Circa 1810Inlaid with boxwood stringing, the two-tier superstructure comprising a pierced arched three quarter galleried top with eight ring and engine turned columns flanking pierced geometric fretwork sides, the panelled back inset with four mirror glass panes, above a projecting top mounted with reeded edging, over a twin stiff leaf moulded panelled secretaire drawer, each panel mounted with a twin lion mask ring-hung floral festoon and central large lion mask ring handle, the mahogany lined secretaire drawer enclosing eight pigeon holes, three cedar lined drawers and a leather inset surface, flanked by two volute scrolled, drapery wrapped, foliate pendant cast herm mounts each with elaborate feathered headdress, with a pair of oval panel mounted doors below, enclosing two adjustable shelves, flanked by lotus leaf moulded panelled angles each inset with a lion mask ring-hung floral pendant mount, on lobed ring turned toupie feet, 94cm wide x 40cm deep x 147cm high, (37in wide x 15 1/2in deep x 57 1/2in high)Footnotes:The offered lot, with its combination of fine ormolu mounts, parcel gilt enrichments and rosewood case work, is highly typical of the output of the cabinet making enterprise, John McLean and Son. This renowned firm, which was active during the period 1770-1815, had locations at both Little Newport Street and Upper Marylebone Street, both in London.The form of the present piece has its roots in a design for a galleried and mirror-backed 'Lady's Secretary', with similar upper tiers intended for the storage and display of books and decorative objects, which first appears in Thomas Sheraton's 'Drawing Book', originally published between 1791 and 1794, pl. XLI. However, although it is not stamped, signed or labelled, the above cabinet is undoubtedly attributable to John McLean due to its elegant amalgamation of Grecian and Egyptian design elements with late 18th/early 19th century trends within French furniture - all hallmarks of this particular maker. The overall configuration and toupie feet seem to be characteristics inspired by the Louis XVI output of the previous generation. Whilst, despite the fact John McLean advertised that his company specialised in the production of 'Elegant Parisian Furniture', there is a distinct English restraint overall which is noticeable throughout all of his oeuvre. A near identical chiffonier, likewise attributed to McLean, sold Christie's, London, 20 November 2008, Dealing in Excellence; A Collection of Hotspur and Jeremy, lot 119, whilst another of this type sold Sotheby's, New York, 24 April 2008, Tom Devenish: The Collection, Highly Important English Furniture, lot 173. Further models include a very similar one with rectangular re-entrant panelled doors combined with lion paw feet, which sold Sotheby's, New York, 24 April 2008, Tom Devenish: The Collection, lot 174. This same secretaire then subsequently sold Christie's, New York, 8 October 2015, Living with Art, lot 158.A very close comparable, albeit with rectangular re-entrant panelling to its doors and a McLean label to the interior, forms part of the Victoria and Albert Museum. This appears in Georgian Furniture, Victoria and Albert Museum, revised and edited by D. FitzGerald, 1969, London, fig. 140 and the maker's label it is applied with can be dated to the period 1805-1815. Two other related examples are illustrated in C. Gilbert, Pictorial Dictionary of Marked London Furniture, 1700-1840, 1996, Leeds, fig.'s 592 and 596,pp.'s 313 & 315. The first with similar oval panels to the present lot but different giltwood reeded columns, has a McLean label from the same period as the former, whilst the second bears one from the marginally earlier years of 1799-1805. Two additional versions feature in S. Redburn, 'John McLean and Son', Furniture History, 1978, pl. 33A and G. Beard and J. Goodison, English Furniture, 1500-1840, 1987, Oxford, fig. 8, p. 269.This lot is subject to the following lot symbols: TP YTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com

An important Dutch late 18th century ormolu mounted kingwood, tulipwood, harewood, amaranth and fruitwood marquetry commode attributed to Matthijs Horrix (1735-1809)The breakfront grey marble top above a veneered mounted dental frieze and a central panelled door inlaid with an olive leaf tied floral medallion flanked by ribbon tied musical trophies surmounted by simulated drawers, the central door enclosing a single shelf, the angled corners fitted with columns, the sides inlaid with Neoclassical urns, above a guilloche frieze, on faceted tapering legs, 117cm wide x 57cm deep x 92cm high, (46in wide x 22in deep x 36in high)Footnotes:ProvenanceFrom the collection of the late Cornelis Paulus van Pauwvliet.Pieter Hoogendijk Antiquairs, Baarn, where probably purchased 1996.ExhibitedPieter Hoogendijk Antiquairs, PAN Amsterdam, 1996.LiteratureAnnigje Hofstede, Nederlandse meubelen: Van Barok Tot Biedermeier 1700-1830, 2004, fig. 234, p. 147.Matthijs Horrix (1735-1819) was the foremost cabinetmaker in Holland during the second half of the eighteenth century. Born in Germany near the Dutch border, he was admitted to the furniture makers' guild in The Hague in 1764 and straightaway set out upon a brilliant career. He quickly became the principal supplier of veneered furniture to the stadholder, Prince William V of Orange, who in 1767 married Princess Wilhelmine of Prussia, and to the aristocratic clients that converged onto The Hague, the city where the court, the government and the embassies were established. But Horrix's workshop, which soon became the largest in the city and which, unusually, he extended to encompass chair-making and upholstery in the manner of the great London furniture firms, also worked for less exalted clients. He was all but unique in acquiring fame throughout the seven United Provinces that together constituted the Dutch Republic: when clients in faraway towns wished to obtain a truly exquisite piece of furniture, they turned to Horrix. Nothing is known about Horrix's training, but it may be assumed that he spent time as a journeyman in Paris, where of course many of the leading ébénistes were of German origin. When Horrix named his shop in The Hague 'In the Commode of Paris', this was most likely intended to keep the memory of an apprenticeship in the French capital alive, as well as highlighting his principal speciality. All over Europe, a floral marquetry commode in the Parisian style became the fashionable piece of furniture par excellence in the early 1760s, and Horrix was undoubtedly the main exponent of this trend in The Hague. For the marriage of the stadholder in 1767, Horrix was commissioned to deliver considerable quantities of marquetry furniture, doubtless all in the latest French manner. Right until William V and his family were forced to flee to England because of the French invasion in 1795, he remained their principal cabinetmaker. Princess Wilhelmine, who mentions him in several of her letters, had a special predilection for his work. She ordered many fine pieces for her private apartments and actively influenced stylistic decisions; for example, in 1780 she supplied Horrix with Japanese lacquer panels to set into commodes.Marquetry furniture inlaid with Chinese or Japanese lacquer is a staple of late eighteenth century Dutch furniture, and Wilhelmine may have played an important role in fostering this taste. In 1790-1791 Horrix provided the panelling, inset with Chinese lacquer, and all the lacquer-mounted furniture for the new Audience Chamber in Huis ten Bosch, the stadholder's palace outside The Hague, which is now the principal residence of King Willelm Alexander and Queen Máxima.It wasn't until the 1990s that part of Horrix's work was identified. Although the French invaders sold nearly all of the stadholder's collections after 1795, a few marquetry commodes in the Dutch royal collection were recognized as being part of his deliveries in the late 1760s. Comparison with these rare items led to further attributions, and a stylistic development could be traced that culminates in the lacquer mounted room at Huis ten Bosch. Cees Paulus van Pauwvliet was deeply interested in this development, and became very keen to own some of Horrix's work. The large and bulbous Louis XV commodes that are typical of the cabinetmaker's early production seem not to have caught his fancy, or may simply have been too big for his apartment. Instead, he acquired a fine group of two marquetry commodes (tincluding the present lot) and a small secretaire in the Louis XVI manner. These can be securely attributed to Horrix because of close stylistic affinities with documented pieces. Inevitably, there is now a trend to attribute any fine piece of Dutch marquetry furniture to Horrix, especially when it is inlaid with lacquer panels. However, Paulus van Pauwvliet went for the best; typically, he was so interested in the whole issue that he also bought a marquetry secretaire in the French manner that clearly is not by Horrix, but by an anonymous, perhaps slightly less gifted Dutch maker. On Matthijs Horrix and his work, see Reinier Baarsen, 'In de commode tot Parijs tot Den Haag', Matthijs Horrix (1735-1809), een meubelmaker in Den Haag in de tweede helft van de achttiende eeuw, Oud Holland 107 (1993), pp. 161-255.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

SAGE & CO; a late Victorian mahogany shop display cabinet of large proportions, with five full height doors and two curved panels, stencil mark to one internal side, height 221cm. Condition Report: The display cabinet is believed to have been as one originally however in the home it has come from it was in two separate sections. It appears that the original moulding around the top is lacking and the back panelling is probably not original. Attention will be needed to restore and secure sections together.PLEASE NOTE: The cabinets are in three large sections and with doors / curved panels loose and one back panel which is incomplete. The shelves are home made and not original. The sections were nailed and bepoke put together in the property and had to be dismantled to move into the auction and will not reassemble without additional works. A professional carpenter / joiner / shop fitter will need to be needed to make the sections fit together, with additinoal timbers and fixings certainly needed. Sold as a collection of shop display cabinet sections only. Not guaranteed to be complete.Two door section is about 222cm high x 179cm wide. Two door section is about 222cm high x 148cm. A section with curved end is about 118cm wide.

A hexagonal mother of pearl scent box, with various mother of pearl panelling central star inscribed Bethlehem, on bun feet, in a blue velvet lined interior, 8cm high, 18cm wide.

[DIANA]: (1961-1997) Princess of Wales, the first wife of King Charles III (when Prince of Wales). SPENCER CHARLES (1964- ) 9th Earl Spencer, Viscount Althorp. British peer and author, the younger brother of Diana, Princess of Wales. Book signed and inscribed, being a hardback edition of Earl Spencer´s Tribute to Diana, Princess of Wales, privately published, Althorp, 1997. The handsome edition features the full text of the eulogy the Earl gave at the funeral of his sister, Princess Diana, at Westminster Abbey on 8th September 1997. Signed (´Charles Spencer´) and inscribed by the Earl in blue ink to the first page. Attractively bound in silk boards with gilt stamped title to the spine and a printed label to the front cover within gilt panelling and with marbled endpapers. Contained within the original pale blue card presentation box with the Althorp device printed in silver to the lid. Some very light, minor scuffing to the printed label on the front cover and with very minor age wear, about VG

1839 Fables De La Fontaine. Illustrated by J. J. Granville. 2 Vol in 1. 1839. Large 8vo, bound in period green crushed Morocco, gilt decoration to both boards. Spine with bands, gilt panelling and titles. Illustrated throughout. Browning and foxing

With vine leaf carving to the front.131cm wide x 57cm deep x 69cm highQty: 1In generally good condition. The two-plank top is loose, held together largely by the hinges. The back right leg has been replaced and repaired with a metal plate. A metal plate repair to the back panelling and the top corners of the frame. Notable loss to the top at the back right, and a smaller loss at the front left.

The painted and parcel gilt elaborately carved chair decorated with writhing dragons, the chair with fielded panel front, sides and back, and set with iron mounts.86cm wide x 78cm deep x 156cm highLosses and repair needed overall, some wear, marks and scratches to the paintwork, loss and repair needed to the left hand arm as you look at the chair, the back of the chair with repair needed to the moulding around the lower section of the panelling, the chair with no inner seat.