A CARVED MAHOGANY CONSOLE TABLE LATE 19TH CENTURY, IN GOTHIC TASTE The polished stone top above a frieze decorated with quatrefoils and fluting, on square section legs decorated with further Gothic tracery 78cm high, 152cm wide, 59cm deepThe carved fretwork decoration on the present table demonstrates the influence of 'Gothick' designs featured in the influential design books by leading London cabinet-makers, such as Thomas Chippendale and Ince and Mayhew, in the mid to late 18th century. For a design of side table by Thomas Chippendale that illustrates some of the 'Gothick' attributes shown on this table, see Thomas Chippendale's, The Gentleman and Cabinet Maker's Director, The Third Edition (1762), printed John Tiranti ltd, London, 1939, pl.LVII. For a centre table of the period incorporating related fretwork carving, see Christie's, New York, The British Interior, 25th January 2001, Lot 290 ($16,500). The collection from Trethill House, Cornwall Saleroom Notice: Please note that the cataloguing has been updated and now reads as follows: A CARVED MAHOGANY CONSOLE TABLE LATE 19TH CENTURY, IN GOTHIC TASTE Condition Report: Good condition, structurally secure with wear and tear consistent with age and use. The catalogue illustration is accurate. There are dents marks and scratches throughout. The stone top is a later replacement, the screw pockets in the backs of the frieze rails suggest it originally had a wood top. The fret carving throughout is shallow and the decoration on the frieze is carved in thin sections of timber, laid onto the frieze rails , a technique mot associated with the 18th century. Condition Report Disclaimer
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A GEORGE III MAHOGANY HALL TABLE LATE 18TH CENTURY The moulded rectangular top above plain frieze and cluster column legs 76cm high, 183cm wide, 79cm deepFor a design of 'Sideboard Table' by Thomas Chippendale incorporating a related cluster column leg, see Thomas Chippendale's, The Gentleman and Cabinet Maker's Director, The Third Edition (1762), printed John Tiranti ltd, London, 1939, pl. NoLX. The collection from Trethill House, Cornwall Condition Report: Good, structurally secure with wear and tear consistent with age and use. There are the inevitable minor dents marks and scratches and shrinkage racks, the top with a patch of dark staining to back left corner and a small shrinkage split in the same area. Otherwise the colour on the top and friezes is very good. Legs and particularly thge feet with scuffing, some old repairs to the feet. Small loss to the ovolo moulding to the middle block of back left leg (see images). The underside of the top with multiple old glue blocks ( a few replaced) but looks generally undisturbed.Condition Report Disclaimer
A GEORGE III MAHOGANY AND INLAID TWO DOOR PRESS CUPBOARD CIRCA 1770 In the manner of Thomas Chippendale, the inlaid doors enclosing an arrangement of slides, and on bracket feet 108cm high, 114cm wide, 60cm deep Illustrated: The Connoisseur, May 1965, p.7 Condition Report: Marks, knocks, scratches, abrasions consistent with age and use, chips and losses, scratches, marks, stains, repairs, The exterior is faded overall and with unevenness of colour and variation overall, signs of repair and replacement to some veneers and inlays, old splits and cracks to the panel doorsThe interior with all slides, darker in appearance overall, the grooves to the slides well worn to the interior of the doors and with associated losses and damagePlease see additional images for visual reference to condition and appearance overall Condition Report Disclaimer
A George III mahogany breakfast or supper table, in Chippendale style, circa 1760; the top with twin drop leaves and carved foliate and floral edging; above a wire mesh compartment with concave front and twin doors; the straight legs with chamfered inner angles; 68cm high, 104cm wide leaves opened, 63cm deepThis table relates to a design for a 'Breakfaste Table' in Thomas Chippendale's first edition of the Gentleman and Cabinet Maker's Director, (1754), plate XXXIII, (also included again in the third edition of 1762, plate LIII). A comparable table was supplied to William, 5th Earl of Dumfries for Dumfries House, Ayrshire, Scotland. (See C. Gilbert, The Life & Work of Thomas Chippendale, London, 1978, vol.I, p.131, vol. II, fig. 401)
A SET OF TWELVE FRAMED MAHOGANY DINING CHAIRS BY BUTLER OF DUBLIN, 19TH CENTURY following a design adapted from Thomas Chippendale, the serpentine carved crest rails, carved with leaves above pierced vase shape splats, drop-in upholstered seats, the seat rails centred by scallop shells raised on cabriole legs with leaf carved knees on claw and ball feet, ten single chairs and two carvers, with scroll bird head armrests. (12)
Architecture. Guarini (Camillo Guarino), Architettura civile, two volume set: text and plates, facsimile, Farnborough: Gregg Press Limited, 1964, original cloth, folio (34 x 24.5cm); Soane (John), Sketches in Architecture, [&] Plans Elevations and Section of Buildings, two volumes, facsimiles, Gregg International Publishers Limited, 1971, green cloth, both Aston University copies, withdrawn stamps, folio (35 x 24cm); Dean (Ptolemy), Sir John Soame and the Country Estate, Ashgate, 1999, illustrated, original dustjacket over cloth, square 4to; The Works in Architecture of Robert & James Adam, three volumes bound as one, London: John Tiranti & Co., 1931, plates, original cloth over papered boards, folio; Stuart & Revett's Antiquities of Athens, 1922 reprint, disbound, original boards, folio; Thomas Hope; Thomas Chippendale; etc., (15) Provenance: Julian Bicknell (b. 1945), New Classical architect and designer of the Palladian Henbury Hall, Cheshire.
20th century painted faux bamboo 'Cockpen' furniture comprising dining table, four carver chairs and coffee table, inspired by the designs of Thomas Chippendale, in original paint with red ochre highlights. Condition- some general wear to include surface marks and chips to paintwork, all chairs and tables appear to be good and strong with no loose joints.
A SET OF GEORGE III MAHOGANY WALL SHELVES IN THE MANNER OF THOMAS CHIPPENDALE, SECOND HALF 18TH CENTURY 59cm high, 61cm wide, 15cm deep Condition Report: Shelves with the marks, knocks, scratches and abrasions commensurate with age and use. Some very minor old repairs - see images. Hanging brackets to the back are later and vary from one another. Shelves in generally good presentable order overall. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
A GEORGE III MAHOGANY HALL CHAIR IN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1775 The back roundel painted in polychrome with a coronet and initial 'A' 97cm high, 47.5cm wide, 51cm deepProvenance: Private Cotswold CollectionA set of six related chairs were made in 1773 by Thomas Chippendale Senior for Harewood House, Yorkshire. They remain at the house displayed in the Steward's Room. The back of the present chair is round, rather than oval as the Harewood chair, and the back support of the present chair has carved scrolls. Condition Report: Overall there are some scratches, marks, chips, cracks and abrasions consistent with age and use. There are some indistinct repairs in part concealed by staining; some missing and later blocks to the underside of the seat; there is some evidence to the seat rails of old worm. The importance of this chair is suggested by the considerable weight of the high quality timber, the figuring to the back roundel, the dished and outset shape of the seat and corresponding front seat rail, the scale of the block feet and the rake and breadth of the back legs. Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition. Condition Report Disclaimer
A SET OF SIX GEORGE III PALE GREY AND GREEN PAINTED ARMCHAIRS IN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1775 Four chairs with check woven fabric; two with a geometric cell and dot fabric Each 91cm high, 61cm wide, 45cm deep overall The present chairs relate strongly to Thomas Chippendale's 1770s designs popularising the neo-classical revival. Similarities to Chippendale's commissions for David Garrick include key features of the present chairs. Chippendale's chairs for Garrick's Royal Adelphi Terrace London home and a Chippendale four poster bed for Garrick's Thames-side villa both display Chippendale's new use of the fashionable 'japan'd' or painted furniture in a distinctive white and green colour palette. The Adelphi saloon chairs stood on a matching white and green carpet designed by Robert Adam and made by Moorfields. Painted decorative motifs shared by the present chairs and the Garrick bed include patera with a star shaped outer border. The use of painted trompe l'oeil fluting to the seat rail, oval backs and stop fluted legs also relate to these Chippendale pieces. Somewhat similar notches to those seen on Chippendale chairs are carved to the seat rails, created to hold the glue cramps when the chairs were being assembled. For related Garrick Chippendale 'Japan'd' armchairs, see Christies, The Ann & Gordon Getty Collection, English Furniture, New York, 23rd October 2022, lot 510, (USD107,100). See Victoria and Albert Museum Collection, The Garrick bed, Accession number W.70-1916.
A GEORGE III MAHOGANY AND BRASS BOUND WINE COOLER IN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1770 62cm high, 65cm wide, 47cm deep overall Thomas Chippendale is known to have used the exact pattern of lion mask handles as used for this wine cooler. Condition Report: Overall there are some scratches, marks, knocks, cracks and abrasions consistent with age and use. The metal liner with deterioration from age and use, including missing one of the interior handles, blistered and with some cracks. There are some gaps between the coopered mahogany sections, some bowing to the base. The upper brass band has a shadow line about 1cm beneath it. There are some later screws to the brass lion mask handles. The brass and composition casters are later, probably 19th century. Overall this is in untouched 'country house' condition. Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition. Condition Report Disclaimer
A PAIR OF GEORGE III MAHOGANY DINING CHAIRS IN THE MANNER OF THOMAS CHIPPENDALE LATE 18TH CENTURY With red leather seats 95cm high TOGETHER WITH ANOTHER PAIR OF SIDE CHAIRS IN GEORGE III STYLE, 20TH CENTURY, with removable seats, 96cm high Provenance: From a Private Collection, Berkshire, gathered over several decades Condition Report: All chairs with marks, knocks, scratches, abrasions consistent with age and use 'Chippendale chairs':Signs of repair to the cresting rails and backs, these have been broken and repaired. the leather worn and distressed overall, one chair especially with hole to the rear of the seat and white wadding is visible 'Second pair': Polished appearance overall, the drop in seats firm, the upholstery recent - the inner rails of this cannot be inspected as part of the report, frames solid and stable, some old splits, cracks and repairsPlease see additional images for visual reference to condition of both pairs of chairs in this lot Condition Report Disclaimer
A set of George III style mahogany dining chairs, in manner of Thomas Chippendale, late 19th century, with six chairs and two armchairs, each with a scroll and moulded top rail, lattice splat, and carved cabriole legs with claw and ball feet (6+2) These chairs are from a Noble family and are in generally good overall condition. The leather seats are clearly relatively recent replacements, and it should be noted that one needs the padding repaired. Overall condition is generally good with a consistent patina, clearly some scuff and chips from use. A few of the top rails are a little loose, but this looks to be an easy repair. A handy set for any Georgian dining room.
In the manner of Thomas Chippendale - late 19th century mahogany and gilt gesso wall mirror, broken swan neck pediment surmounted by eagle with spread wings, decorated with trailing foliate decorated with flower heads, the plain mirror plate within mahogany frame with gilt foliate mouldings, flanked by two rows of trailing fruiting foliage, shaped apron decorated with flower headsDimensions: Height: 119cm Length/Width: 61cm
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 George III mahogany, goncalo alves crossbanded, sycamore and fruitwood marquetry linen pressCirca 1775, almost certainly made by a cabinet maker operating either on or near St. Martin's Lane in LondonWith shaded inlay and stringing, the swan neck pediment with a reverse ogee moulded cornice and rosette inlaid terminals, inlaid with a pair of Neoclassical urns flanking a central oval patera, above a flute inlaid frieze interspersed with circular fan medallions, over a pair of quarter segmented and oval moulded panelled doors inlaid with quartered rosette angles, enclosing five cedar, mahogany and oak lined slides, with two short and two long graduated oak lined drawers below, on shaped bracket feet, 127cm wide x 61.5cm deep x 218cm high, (50in wide x 24in deep x 85 1/2in high)Footnotes:A couple of the constructional characteristics of the offered lot suggest that it was made by one of the renowned cabinet makers located either on, or just alongside, the historic St. Martin's Lane in London during the latter half of the 18th century. These include the presence of a thin red wash on some of the secondary timbers - which was believed to have assisted in the prevention of wood worm infestation - and the use of concave quarter-fillets in the construction of both the drawers and the slides.Certain cabinet makers operating at the highest level of the business during the 18th century were based either on St. Martin's Lane, or in a couple of cases just off this historic London road. All of these workshops, including those run by renowned figures such as William Vile, John Cobb, William and John Linnell and of course arguably most importantly, Thomas Chippendale, produced pieces of the finest quality and in the most fashionable styles of the time. Typically, this meant that their output employed ingenious methods of construction. One such method was the use of concave quarter-fillets to serve as strengthening for the drawers in case furniture. Some examples which utilise this constructional feature include the pair of lacquer commodes, either by or attributable to John Cobb, from St Giles' House, Dorset - sold by the Earl of Shaftesbury, Christie's, London, 11 November 1999, lot 100 - and a padouk commode sold anonymously, Christie's, London, 30 November 2000, lot 134. A further related serpentine chest attributed to Thomas Chippendale which employs this method and includes 'S-pattern' key holes, sold anonymously, Christie's, London, 25 November 2004, lot 79.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 set of four George III 'Gothick' mahogany open armchairsAfter a design by Thomas Chippendale and after designs by Robert Manwaring, with restorationsEach with a square back and channelled pointed arched toprail centred by a boss, above a vertical splat comprised of four pointed cusped arches with pierced shaped trefoil-form spandrels, with curved, scrolled shaped arms and roundel headed octagonal form cappings, on square section legs with scrolled foliate ears, on splayed rear legs, upholstered with associated gros and petit-point needlework seats depicting various pastoral scenes, signs of re-railing, each approximately: 62.5cm wide x 56cm deep x 91cm high, (24 1/2in wide x 22in deep x 35 1/2in high) (4)Footnotes:As with the previous lot, the precursor for this type of 'Gothick' chair is one that was supplied in 1754 to Horace Walpole and installed at his castellated extravaganza, Strawberry Hill, in Twickenham.A design for an armchair with a closely comparable multiple interlaced cusped arched and trefoil pierced splat to those on the chairs comprising the present lot appears in the third edition of Thomas Chippendale's renowned The Gentleman and Cabinet-Maker's Director, pl. XVII, 1762. This seminal work was reproduced by Dover Publications, Inc., 1966, New York. Chippendale notes therein that such a 'Gothick Back' chair would be suitable for 'Halls, Passages or Summerhouses'. Whilst this same drawing is replicated in C. Gilbert, The Life and Work of Thomas Chippendale, Vol. I, 1978, London, fig. 138, p. 85. Three similar designs were also originally illustrated in the second edition of Genteel Household Furniture in the Present Taste, published circa 1765 upon behalf of 'A Society of Upholsterers', pl.'s 2, 14 and 15. These engravings were executed by Robert Manwaring and then subsequently formed part of a 1766 publication by Sayer called The Chair-Maker's Guide. All three are also reproduced in Pictorial Dictionary of British 18th Century Furniture Design, compiled by E. White, 2000, Woodbridge, pp.'s 69 and 72.The general outline or overall form of the back on each of the offered chairs seems closest to the Manwaring design for what he referred to as a 'Parlour chair', featuring in Genteel Household Furniture in the Present Taste, pl. 2. However, in terms of the cusped pointed arched or arcaded splat, the inspiration and influence for this was possibly more likely taken from the two other Manwaring designs, Ibid, pl.'s 14 and 15, both of which are much more akin to the above examples than the former.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
![Art Trade & Auctions.- [Sale Catalogue] Dumfries House: A Chippendale Commission, 2 vol., colour illustrat](https://cdn.globalauctionplatform.com/0252a742-362c-457e-b7f6-b18f00e49597/93d06ed9-c5ba-4559-82a5-b18f00eedd44/468x382.jpg)
Art Trade & Auctions.- [Sale Catalogue] Dumfries House: A Chippendale Commission, 2 vol., colour illustrations, original wrappers, Christie's, 2007; and a small quantity of others on the art trade, auctions and sale catalogues, a few late 19th & early 20th centuries including some Hurcomb catalogues, 4to & 8vo (3 boxes)*** Catalogue of the superb collection of furniture by Thomas Chippendale and others, much of it specially commissioned for the Palladian house designed by John and Robert Adam for the 5th Earl of Dumfries, later inherited by the Marquess of Bute. In order to pay death duties the 7th Marquess put the estate and house contents up for sale but at the last moment a consortium led by King Charles III, then Prince of Wales, raised the funds to save it for the nation.
A GEORGE III GILTWOOD AND GESSO WALL MIRROR CIRCA 1770, AFTER DESIGNS BY THOMAS JOHNSON OR MATTHIAS LOCK The two piece plate within moulded slip and cross stretcher surmounted by a figure of a huntsman with rifle and pheasants within a pagoda on "C" scroll foliate supports, above pierced foliate sides in the chinoiserie taste, mounted with figures of hounds, the apron centred by a hare 205cm high, 100cm wide Provenance: Abbotswood House, Stow-on-the-Wold, Gloucestershire Grosvenor House Antiques Fair, June 1971, Mallett The combination of Chinese Ho-Ho birds, Rococo scrolls and rocaille carving is a style popularised by Thomas Chippendale in The Gentleman and Cabinet-maker's Director (1754-1762). This 'Chinese Chippendale' style was adopted by many other top London makers of the mid 18th century including Ince & Mayhew, Thomas Johnson and Matthias Lock. A mirror frame design incorporating pagodas and a seated Chinese figure, as seen in the present lot, can be found in Thomas Johnson's Collection of Designs, 1758, plate 32 and One Hundred and Fifty New Designs, 1761. For a related 'Pier Glass' by Ince & Mayhew, see The Universal System of Household Furniture, 1759, Reprint by Alec Tiranti, 1960, plate LXXXII.For a similar mirror of the period, see Christie's, London, Julians Park and Six Private Collections, 8th June 2021, Lot 123 (£37,500). Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Various minor splits and chips to frame. Some hairline cracks following the underlying joints of the frame. Some minor old repairs. Including small tack repair to secure the bird in the man's hand. Some chips of loss to carving in places. One slightly larger chip of loss to the carved leaf detail at the top of the cresting. The gilt with areas or rubbing and surface wear throughout. The frame appears to have been cleaned and the gilding sympathetically refreshed in areas overall (but retaining its antique appearance). Any skillfully replaced elements to the frame would be virtually impossible to detect due to the cleaned/ restored finish. Mirror plates with depletion, sparkle and some areas of losses. Mirror in restored/retail condition from when it was last purchased. There is a plywood panel of recent manufacture secured to the reverse of the mirror plate. The underlying panel is therefore not visible and we cannot comment on the originality of the underlying panel. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
A SET OF SIX UNUSUAL GEORGE III GOTHIC REVIVAL MAHOGANY CHAIRS IN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1780 each 98.5cm high, 52cm wide, 51cm deep overall Condition Report: All chairs with the marks, knocks, scratches and abrasions commensurate with age and use. Old chips, splits and some losses. Old repairs - see images for details. Later supporting corner blocks and metal brackets to backs of seat rails. Some previous supporting blocks now lacking. Upholstered seats with the expected wear, marks and fading - but in generally good order overall. One seat pad frame in need simple joint repair. Some 'shrinkage' and minor opening to joins in places. Some joins may need simple tightening. Some fading to colour of timber in places. In general, simple attention from a restorer would bring them back to presentable/useable condition. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
A GEORGE III CARVED GILTWOOD OPEN ARMCHAIR IN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1800 The seat rails with V-shaped notches, upholstered in a green damask fabric 92cm high, 62cm wide, 68cm deepA characteristic of Thomas Chippendale chairs are V-shaped notches, similar to those on the present chair, to the side and back seat rails made to take glue cramps when the members were being assembled. Condition Report: Overall there are some scratches, marks, chips, cracks and abrasions consistent with age and use.The chair has later gesso, gilding and upholstery.Observations include: some marks and staining to the damask upholstery; some rubbing and flaking to the gilding revealing the underlying gesso; later corner blocks to the seat rail corners; there is some evidence of old worm.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition. Condition Report Disclaimer
A PAIR OF CARVED GILTWOOD AND GESSO MIRRORS 19TH CENTURY Framed as stylised architectural ruins each 89cm high, 36cm wideProvenance: Property from a Private Collection, HerefordshireGirandole mirrors of closely related form can be seen in designs by Thomas Chippendale. See The Gentleman and Cabinet-makers Director by Thomas Chippendale, Third Edition [1762], Tiranti's Reprint, 1939, pages No CLXXVII and CLXXVIII, 'Girandoles'. Condition Report: marks, knocks, scratches and abrasions commensurate with age and use. The gilt and gesso with some rubbing and chips of loss - see images. One mirror with foliate scroll to one side detached and re-glued. The other mirror with a crack through the 'roof' element and some smaller cracks to the frame at one side. One floral finial to the staircase area of one mirror is lacking. Mirror plates appear to be replaced.Condition Report Disclaimer
A GEORGE III MAHOGANY PEMBROKE OR BREAKFAST TABLE IN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1770 72cm high, 90cm wide, 71cm deep For a related 'Breakfast' table form with a pierced flat X-shaped stretcher, see Thomas Chippendale, The Gentleman and Cabinet-Maker's Director 1762, pl LIII. Condition Report: Table with the marks, knocks, scratches and abrasions commensurate with age and use. Width with leaves down: 41.5cmOld chips, splits and cracks. Old repairs to splits and cracks - see images Metalware possibly original (no evidence of previous fixtures). No key present but lock is open. Some later supporting blocks and cross stretcher to the interior of the carcass.The leaves with some very minor warping, as to be expected.Some slight movement within the frame/joints of the table. Some additional dark marks and scratches to the top. Please refer to additional images for visual reference to condition.Condition Report Disclaimer
Antiques Interest - large collection of books to include: Helena Hayward and Pat Kirkham - 'William and John Linnell, Eighteenth Century London Furniture Makers', vols I and II, first edition 1980, in sleeve; Christopher Gilbert - 'The Life and Work of Thomas Chippendale' vols I and II, first edition 1978, in sleeve; Percy Macquoid - 'A History of English Furniture' - 3 copies of 'The Age of Oak' 1904, 1925 and 1938 editions, two copies of 'The Age of Satinwood' 1927 and 1938 editions, 2 copies of 'The Age of Walnut' 1925 and 1938 editions, 2 copies of 'The Age of Mahogany' 1925 and 1938 editions; 14 x bound volumes of 'The Connoisseur' magazine dating from 1908 - 1921 (broken run); Nicholas Goodison & Rain Kern - 'Hotspur - Eighty Years f Antique Dealing' Limited edition (24/2000) 2004 in sleeve pp 288 copious illustrations; Giuseppe Mazzotti - 'Palladian and other Venetian Villas' 1958; Herbert Cescinsky and Ernest.R.Gribble - 'Early English Furniture and Woodwork' 1922 Vol I and II; Herbert Cescinsky - 'Eighteenth Century English Furniture' 1911; R.W.Symonds - 'English Furniture from Charles II t George II' Limited Reprint Edition (571/1,500) 1980; Frederick Litchfield - 'Illustrated History of Furniture' 7th edition 1922; Ralph Edwards - 'The Dictionary of English Furniture' - in 3 volumes 1954. (32)
In the manner of Thomas Chippendale - late 19th century mahogany and gilt gesso wall mirror, broken swan neck pediment surmounted by eagle with spread wings, decorated with trailing foliate decorated with flower heads, the plain mirror plate within mahogany frame with gilt foliate mouldings, flanked by two rows of trailing fruiting foliage, shaped apron decorated with flower headsDimensions: Height: 119cm Length/Width: 61cm
A GEORGE II MAHOGANY SIDE CHAIR BY REPUTE BY THOMAS CHIPPENDALE, CIRCA 1759 99cm high, 61cm wide, 59cm deep Provenance: Formerly from Annan House, Dumfries & Galloway By repute, a wedding gift from Dumfries House The present chair closely relate to George II chairs at Dumfries House. See Christie's, Dumfries House, A Chippendale Commission, Vol II, 13th July 2007, Lot 180 by Alexander Peter and Lot 196 by Thomas Chippendale
A pair of George III carved giltwood wall sconces, 18th century, in the style of Thomas Chippendale, each with an acanthus-formed backplate carved with an opposing pair of squirrels,14cm wide23cm deep44cm high (2)Provenance: The Collection of the late Rosemary and Theo Cutting.Condition ReportRe-gilded, with touching up with gold paint. Some rubbing and wear to gilding. Some cracks, breaks and repairs. Dirt and dust. Overall structurally stable. Please see photos.
An English George III mahogany spider-leg table in the matter of Thomas Chippendale (1718-1779), third quarter of the 18th C. H 71,9 - L 81,4 - D 38,3 cm (closed) H 71,9 - L 81,4 - D 86,8 cm (open) - For a very similar Chippendale table: Sotheby's, London, March 21, 2021, lot 252 (sold GBP 13.860) https://www.sothebys.com/en/buy/auction/2021/the-family-collection-of-the-late-countess-mountba tten-of-burma/a-george-iii-mahogany-spider-leg-table-by-thomas width71.9 cm height81.4 cm
A GEORGE III ORMOLU-MOUNTED MAHOGANY SERPENTINE COMMODE ATTRIBUTED TO JOHN COBB, MID 18TH CENTURY With a moulded top above three graduated long drawers, the top drawer formerly fitted, the apron to the bottom drawer carved with foliage, C-scrolls and rockwork, the keeled foliate-carved angles surmounted by female terms with rocaille collars and gadrooned borders, acanthus and lapped lambrequins, and with hairy hoof sabots, the drawers with concave quarter-filets the legs cut down by about 8cm 75cm high, 126cm wide, 61cm deep Provenance: H. Percy Dean, Esq Acquired January 1910, 'An Antique Chippendale commode from the Collection of Dr Deane, illustrated in Macquiod's "Age of Mahogany" plate X'.Literature: P. MacQuoid, The Age of Mahogany, London, 1906, plate X. L. Wood, Catalogue of Commodes, London, 1994, p. 52 The commode, of elegant serpentine outline and enriched with bronze female terms to the angles is conceived in the `Picturesque' French antique manner introduced and promoted by Thomas Chippendale (d.1779) with the publication of the first edition of The Gentleman and Cabinet-Maker's Director (1754). It was almost certainly executed by John Cobb (d.1778), Chippendale's close neighbour with premises in St Martin's Lane, both of whom were highly aware of prevailing French designs. Cobb, with his partner William Vile (d.1767), held a Royal warrant from 1761 - 64 as `Cabinet makers and Upholsterers to His Majesty King George III' to supply furniture under the direction of the Great Wardrobe to St. James's Palace and The Queen's House (now Buckingham Palace). In partnership with Vile and in his early years as an independent craftsman after 1764, Cobb made mainly plain furniture in mahogany, rosewood, padouk and sabicu, but later in his career he became renowned for marquetry work, the pinnacle of which included the satinwood commode and matching pedestals supplied in 1772 - 74 to Paul Methuen for Corsham Court, Wiltshire. The commode offered here, probably executed after 1764 relates to a pair of mahogany commodes from Blickling Hall, Norfolk, and another sabicu and padouk commode at Alscot Park, Warwickshire, by Cobb, that date from the mid-1760s and for which bills exist. These and other related commodes are analysed in detail in Lucy Wood, Catalogue of Commodes, London, 1994, pp.43 - 53. A comparable commode was in the collection of Sir Archibald Edmonstone, Bt., sold at Christie's, London, 27 March 1958, lot 82, and Wood notes similarity in the distinctive carved apron on the commode offered here with another sold by Mrs Venetia Gairdner, Lawrence Fine Art, Crewkerne, 19 February 1981, lot 215, and another from the Untermyer Collection in the Metropolitan Museum of Art (accession no. 64.101.1142). According to the literature, the commode appears to be one of a pair, or two almost identical. While the lot offered here was illustrated by Percy Macquoid in The Age of Mahogany, London, 1906, pl. X, correctly credited to Percy Dean, its counterpart, which retained its original longer legs, was later illustrated in an article by Herbert Cescinsky, `The collection of the Hon. Sir John Ward, K.C.V.O.', part IV, Connoisseur, August 1921, pp. 195 - 7, fig. III (and Macquoid later muddled the two commodes in his Dictionary of English Furniture, rev. ed, 1953, vol. II, p. 114, fig. 10, illustrating the Ward commode but crediting it to Percy Dean). Related commodes attributed to Cobb sold at auction include two from the collection of Lord & Lady Weinstock, Christie's, London, 22 November 2022, lot 89 (of three long drawers, the bottom drawer displaying similar carving and with carved angles and feet) and lot 94 (of two short and two long drawers, with a shaped but not carved rail below the bottom drawer, but with the same ormolu angle mounts and sabots). Condition Report: Overall in good clean condition, structurally secure with dents marks and scratches and shrinkage cracks due to age and use. It appears to be in essentially the same condition as when illustrated by Macquoid (in Age of Mahogany) in 1906. As noted the legs have been shortened and the brass sabots reattached, certainly by 8cm, probably in fact rather more. There is some black stain over and around the drawer edges and the carving, notably to the apron. The metalwork is in good condition and apparently all original, apparently oil gilt and then lacquered. The top drawer originally fitted with divisions now removed, as a fitted drawer it is entirely mahogany-lined. The back legs with later-fitted filets of wood, approx' 30cm in length, presumably by way of repair. The two lower drawers oak lined and with Cobb's characteristic concave quarter filets.For comparison, see (1) the very closely related commode illustrated in Macquoid (Dictionary of English Furniture), possibly the pair to the present lot (2) a commode attributed to Cobb with the same carved apron but without ormolu mounts and with simpler handle pattern sold Christie's, London 22 Nov' lot 89 (£94,500 including premium) (3) another almost identical to the last sold Christie's, New York 19 April 2001 ($446,000) and (4) another of less flamboyant form and lacking corner mounts and sabots, sold Christie's, London 4 July 2019, lot 106 (£137,500). Condition Report Disclaimer
A GEORGE III MAHOGANY BUREAU-CABINET ATTRIBUTED TO WRIGHT AND ELWICK, CIRCA 1770 The elaborate scrolled, beaded and foliate-carved pediment centred by a plinth and with foliate and pierced strapwork brackets above a concave cornice with foliage and pendant husks, the doors with reeded gothic arched and foliate astragal glazing and enclosing two shelves and three short drawers, above a stiff-leaf waist moulding, the cleated fall front with engraved brass shield-shaped escutcheon revealing a fitted interior with pigeon holes, drawers and concealed document drawers around a central sliding compartment with mirrored architectural interior, ebony and ivory parquetry floor with central boxwood stepped plinth and with further secret drawers behind, above two short and three long drawers with rope-twist cockbeading, on an associated foliate-carved plinth with ogee bracket feet, with a concealed, spring-loaded drawer to the right side waist moulding, restorations, perhaps with later embellishments 240cm high, 117cm wide, 64cm deep Provenance: H. Percy Dean, Esq. Acquired in 1909, 'A very fine Chippendale bureau bookcase with finely carved mouldings & pediment...,' Literature: P. MacQuoid, The Age of Mahogany, London, 1906, fig. 146The cabinet corresponds to designs published by Thomas Chippendale in the various editions of The Gentleman and Cabinet-Maker's Director. In particular the glazing pattern of gothic arches featured in a bookcase design of 1762, pl. CXVII, and was employed in the bookcase (probably one of four) supplied by around 1766 by Chippendale for Sir Rowland Winn's London house in St. James's Square (C. Gilbert, The Life and Work of Thomas Chippendale, London, 1978, vol. II, p.41, figs. 64 and 65), while the distinctive foot pattern corresponds closely to the design for a Desk & Bookcase (bureau-cabinet) that was first issued in the first edition of the Director, 1753, and again in the third edition, 1762, pl. CIX. The latter also featured a fret-carved panel between the upper doors and the flap which Chippendale noted `may be two drawers'; in the lot offered here a bank of conventional drawers are located behind the glazed doors, while a further shallow drawer is concealed behind the leaf mouldings on the right side. The swan-neck pediment with a central vase stand bears comparison with Chippendale's bookcase design also issued in the third edition of the Director as plate XCII. Chippendale's designs were celebrated and widely adopted by contemporaries and competitors. Among them were the Wakefield, Yorkshire, cabinet-makers and upholsterers Messrs Wright and Elwick, whose business was established in the 1750s and who became the pre-eminent furniture-makers in Yorkshire in the second half of the 18th century. Richard Wright was probably employed at, and may have directed the Soho tapestry manufactory in London before forming a partnership with Edward Elwick, furniture maker and designer, in Wakefield. Both were subscribers to the first edition of Thomas Chippendale's The Gentleman and Cabinet-Maker's Director, 1753, and they went on to supply an enormous number of houses in Yorkshire including Wentworth Woodhouse, Wentworth Castle, Temple Newsam House, Cusworth Hall, Cannons Hall and Burton Constable; they likely also worked at Nostell Priory since Chippendale referred in correspondence (in disparaging fashion) to `the Ingenious Mr. Elwick'. Their furniture often aligns closely with Chippendale's designs but with additional or more elaborate and idiosyncratic carving, as noted in Christie's catalogue for the sale of furniture from Wentworth Woodhouse, London, 8 July 1998, and elsewherePlease note, Dreweatts have applied for a de minimis exemption licence for the ivory in this lot (X4CGM12C) Condition Report: Overall in good condition, clean and structurally secure with dents marks and scratches and shrinkage cracks due to age and use. There are some minor old losses and repairs to the carving, for example to the carving of the door astragals. To the upper section there are minor marks to the right (as you view the cabinet) upright where door hinge screws were too long and disturbed the front surface. There are also minor blemishes around the escutcheon and an old door knob has been removed below the escutcheon. Patched repair to veneers to the lower member of the right door and the central division- well executed and well blended. The concealed side drawer released by a button on the right internal drawer. To the lower section, the fall front has a horizontal shrinkage split, the engraved escutcheon probably added. The fretted spandrels to the pigeon holes probably added. The central cabinet with mirrored interior released by a catch in its 'ceiling'. The interior of the pull-out section and the parquetry panel in front of it apparently original. Many of the small internal drawers with loose bottom boards. To the reverse are eight drawers concealed behind a sliding panel. There are patched repairs/replacement to veneers on the drawer divisions and the uprights. Drawer locks apparently replaced. The plinth a feet are a slightly lighter colour but the extravagant and idiosyncratic carving seems consistent with the remainder of the cabinet. Feet secure and with sturdy (apparently original) blocks behind). Minor old repairs to swan neck pediment. Overall a handsome and imposing cabinet, the quality of carving throughout is excellent.Condition Report Disclaimer
A PAIR OF GEORGE III STYLE MAHOGANY LIBRARY ARMCHAIRS AFTER THE DESIGN ATTRIBUTED TO WILLIAM VILE, PROBABLY 19TH CENTURY The rectangular padded backs, arms and seats upholstered in machine-made floral needlework, the arm supports carved with florets and with incised hatched trellis decoration, on square legs carved with similar hatched panels and wrapped with carved foliage, fruit and acorns on guttae feet and headed by pierced 'Chinese' angle brackets, with metal castors, the backs unusually low and possibly reduced in height 89cm high, 66cm wide, 68cm deep Provenance: Acquired August 1919, `A pair of fine Chippendale stuffed back chairs with carved arms & straight legs with raised fruit & flowers £300' The chairs feature distinctive foliate-wrapped legs carved with oblong trellis panels and guttae feet derived from the pattern for the celebrated drawing-room suite commissioned by Anthony Ashley-Cooper, 4th Earl of Shaftesbury (d. 1771) for St. Giles's House, Dorset, which originally comprised four settees and at least twenty-five open armchairs. For many years the manufacture of the suite was credited to Thomas Chippendale who illustrated such chairs which he described as being in the 'Modern' style in his Director, indeed, the 7th Earl of Shaftesbury (d. 1885) described the St Giles' furniture as being 'very valuable and fine, being by Chippendale'. However, the suite is now attributed to William Vile (d. 1767), who worked with William Hallett (d. 1773) before receiving his appointment as 'cabinet-maker' to George III. Vile adopted guttae feet for the stools which he and his partner John Cobb supplied in 1753 for the Vyne, Hampshire (A. Coleridge, Chippendale Furniture, London, 1968, p. 27, fig. 28). The attribution also derives from the superb and intricate carving of the suite corresponding to furnishings supplied by Vile and Cobb to George III and Queen Charlotte for Royal residences including St. James Palace and the Queen's House, now Buckingham Palace. A related suite of seat furniture in walnut, attributed to Vile, was at Harleyford Manor, Buckinghamshire, presumably supplied around 1760 to William Clayton (d.1783). The house was built from a design by the architect Sir Robert Taylor who pulled down an earlier house bought by Sir William Clayton, 1st Bt. (d.1744) and replaced it with the design that survives today. The Harleyford suite was sold from a private Eaton Square collection at Christie's, London, 2 May 2013, lots 79 (ten side chairs and a (pair of sofas), 80 (pair of stools) and 81 (single stool) The ten chairs and sofas were sold again anonymously at Christie's, London, 17 March 2022, lots 11 and 13 respectively.
An exceptional pair of finely carved giltwood Console Tables, in the George III - Thomas Chippendale manner, each with a marble segmented top above a centre cartouche with shaped leaves and scrolls flanking a swan above stalagmites, each side frieze with conforming leaf sprays and scrolls on leaf capped cabriole legs united with a stretcher, centered with a seated hound above stalagmites, on leaf carved scroll feet, 89cms x 89cms (35'' x 35''). (2)
A MAHOGANY TWIN PEDESTAL PARTNER'S DESK,following a design of Thomas Chippendale of 1740, the rectangular top with outset corners and three tooled leather writing panels, above a centre drawer, and pedestals enclosing short drawers and upright divisions overlaid with bellflower swags and lion masked uprights, on hairy paw feet. 81cm high, 131cm deep, 203cm wide*The original desk resides in the collection of Nostell Priory, West Yorkshire Condition Report: The top can be removed but rest of the desk appears to be one piece The top in good condition, some scuffs and scratches Two of the pedestal doors with vertical cracks Applied band of fluted decoration has come away from body and cracked, see images Scuffs and marks throughout especially to the lion masks and feet See additional images
Chippendale (Thomas). Chippendale's Ornaments, and Interior Decorations, in the Old French Style, consisting of Hall, Glass & Picture Frames, Chimney Pieces, Stands for China, Clock and Watch Cases, Girandoles, Brackets, Grates, Lanterns, Ornamental Furniture, and various ornaments for carvers, mottlers, & c & c & c., London: John Weale, [1834], engraved title and 32 engraved plates of ornamental designs by M. Lock after Chippendale, some minor marks, contemporary boards, some wear, folioQTY: (1)
A GEORGE III CARVED GILTWOOD AND UPHOLSTERED ARMCHAIR IN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1770 99cm high, 62cm wide, 56cm deep overallProvenance: Glympton Park, OxfordshireSeveral features of this chair, including the overall design, decorative features and construction features including cramp cuts to the seat rails, suggest that this chair could be attributable to Thomas Chippendale. Condition Report: Overall there are some scratches, marks, chips, cracks and abrasions consistent with age and use.The later upholstery is intact with some aged marks and stains. The frame has not been inspected under the upholstery and the hessian underseat cover. Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition. Condition Report Disclaimer
A SET OF TWELVE CREAM AND GREEN PAINTED DINING CHAIRS IN THE MANNER OF THOMAS CHIPPENDALE, OF RECENT MANUFACTURE To include four armchairs, each with a pale linen upholstered drop in seat the armchairs 94cm high, 65cm wide, 60cm deep the side chairs 98cm high, 59cm wide, 59cm deep Please note, there are ten side chairs and four armchairs in this lot and not as listed in the catalogue. There are two additional armchairs in the lot than originally catalogued. Condition Report: Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition. Condition Report Disclaimer
A PAIR OF GEORGE III MAHOGANY SIDE CHAIRS IN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1760 each 96cm high, 58cm wide, 57cm deep overall Condition Report: Overall there are some scratches, marks, knocks, cracks and abrasions consistent with age and use.Some losses and repairs, the seat covers later, the frame under the seat covers not inspected.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition. Condition Report Disclaimer
A PAIR OF GEORGE II MAHOGANY SIDE CHAIRS BY REPUTE BY THOMAS CHIPPENDALE, CIRCA 1759 98cm high, 59cm wide, 62cm deepProvenance: By repute, a wedding gift from Dumfries HouseThe present chairs closely relate to George II chairs at Dumfries House. See Christie's, Dumfries House, A Chippendale Commission, Vol II, 13th July 2007, Lot 180 by Alexander Peter and Lot 196 by Thomas Chippendale. Condition Report: Both with the marks, knocks, scratches and abrasions commensurate with age and use. Some old splits and chips. One chair with old repairs - see images. Upholstery tidy. Both structurally solid overall. Dreweatts cannot guarantee the originality of elements beneath upholstery. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
A PAIR OF GEORGE III CARVED MAHOGANY HALL CHAIRS POSSIBLY BY THOMAS CHIPPENDALE THE YOUNGER, CIRCA 1790 With painted armorials 'G.H.' to the central medallion each 101.5cm high, 45.5cm wide, 44cm deepProvenance: Property from Clipsham House, Rutland These hall chairs display the painted crest and initials of Sir Gilbert Heathcote, 3rd Baronet, who commissioned Thomas Chippendale to furnish the family seat, Normanton Park, Rutland, as well as Browne's House, Fulham, and No. 20 Grosvenor Square, London. The Heathcote family employed the firm of Chippendale, both Senior and Junior, for over half a century from 1768 to 1821. A bill to Sir Gilbert amounting to £169.6s.5d. was for services provided between November 1777 and May 1778. Two more Heathcote accounts cover periods from December 1780 to December 1781 for £203.11s.4d, and from January 1782 to February 1783 for £49.12s.7d. A few entries in the accounts up to 1804 relating to the family's country seat Normanton Park, are concerned with repairs and the cleaning of soft furnishings. Considering the above provenance and its close proximity to Normanton Park, Rutland, it is quite possible this pair of hall chairs originally formed part of the set of eight commissioned for Sir Gilbert Heathcote, either for Normanton Park, or for one of the aforementioned London properties. See Judith Goodison: The Life and Work of Thomas Chippendale Junior, Philip Wilson Publishers, 2017, pl 113, pp317, for the illustrated example with an identical painted crest and brass cappings around the feet. Condition Report: Overall there are some scratches, marks, chips, cracks, colour differences, rubbed wear, losses and restorations consistent with age and use.The feet cleverly designed with bronzed shaped cappings.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition. Condition Report Disclaimer
A GEORGE III MAHOGANY AND CROSSBANDED TRIPOD TABLE IN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1790 The octagonal tilt top crossbanded probably with fruitwood or sycamore, with a paper label printed 'SOTHEBY'S COUNTRY HOUSE SALE' and inscribed in pen '117' 67cm high, the top 55cm diameterProvenance: Property from Clipsham House, Rutland Condition Report: Overall there are some scratches, marks, fading, knocks, cracks and abrasions consistent with age and use.Some losses and restorations.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition. Condition Report Disclaimer
A SET OF SIX MAHOGANY COCKPEN ARMCHAIRS IN GEORGE III STYLE, 20TH CENTURY The saddle seats with leather upholstery, the feet with later ball bearing type casters 86cm high, 58cm wide, 52cm deepThis form of chair became popular with the fashion from the mid 18th century for chinoiserie architecture and designs. Thomas Chippendale published chair designs with such Chinese style lattice backs in The Gentleman and Cabinet Maker's Director, 1762, pl XXV and XXVII. The term 'Cockpen' seems to originate from chairs made for the family pew of the Earls of Dalhousie in Cockpen Church, Midlothian. Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use Some old chips The leather upholstery with various marks, stains, tears and scratches (see images) The undersides of some of the seats with tape applied. All structurally sound and stable All chairs have possibly been re-railed, and may incorporate some 19th century timbers. Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition. Condition Report Disclaimer
A GEORGE III MAHOGANY TEA TABLE IN THE MANNER OF THOMAS CHIPPENDALE, LAST QUARTER 18TH CENTURY The hinged top supported by one hinged leg 73cm high, 91cm wide, 45cm deep Provenance: The Rowse Collection Christie's, London, Michael Lipitch II, 4th October 2001, Lot 35 (£7,050) Condition Report: There are scratches, marks, knocks, cracks and abrasions consistent with age and use. There are losses, observations and restorations including: some cracks to veneers; some discreet hinge repairs; an inventory number 'K14' painted in red to the frieze; there is some evidence of worm; some later blocks to the underside and repairs to some brackets at the top of the legs; one back leg hinged to hold the folding topCondition Report Disclaimer
A GEORGE III MAHOGANY KNEEHOLE ARCHITECT'S DESK ATTRIBUTED TO THOMAS CHIPPENDALE, CIRCA 1780 The inset ratchet top with a section hinged to create a shelf when in the raised position, the frieze drawer with a sliding inset section above divisions, the kneehole door enclosing vertical divisions, the plinth base with concealed casters 83.5cm high, 115cm wide, 61cm deep The use of S-pattern keyholes, as displayed by this desk, is a detail is almost unique to items of furniture made in the workshop of Thomas Chippendale. In his 1768 account to Lady Shelburne, Chippendale mentioned that a commode table has 'very good spring and tumbler locks and S-bitted keys' (Gilbert, op. cit., vol. I, p. 253, and vol. II, p. 147, fig. 267). The intriguing asymmetry of the S-shaped brass escutcheon would have been Chippendale's primary objective, though the encumbrance would also have minimally increased the level of security of the lock. This keyhole pattern has very occasionally been recorded on furniture attributed to Chippendale's competitor John Cobb, for example on the commode sold anonymously, Christie's New York, 19 April 2001, lot 148. However, nearly all occurrences are on furniture attributed to Chippendale. Condition Report: Desk with the marks, knocks, scratches, abrasions and minor chips commensurate with age and use. Desk in generally good order overall. Leather surfaces with the expected wear, marks and creases. Key present for the cupboard door. No key present for drawers, all are open. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
A GEORGE III MAHOGANY LINEN PRESS IN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1770 193cm high, 131cm wide, 66cm deep Condition Report: Overall there are some scratches, marks, chips, cracks and abrasions consistent with age and use.There are vacant notches to the interior top of the cornice, with some cracks and possible restorations.The lock has the teeth extended, there is no key, later brass to the corresponding door.The red washed interior is missing all but one sliding tray. The present tray does not quite fit on the runners possibly due to shrinkage, there is a later hanging rail.Impressive flame veneers and crossbanding to the doors.Possibly some later blocks to the underside, difficult to see with the red wash, some repairs to the bracket feet.The drawers with quality oak linings, some taped splits. The handles are original.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition. Condition Report Disclaimer
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