FINE ANTIQUE FURNITURE - Amazon S3...FINE ANTIQUE FURNITURE A magnificent circular specimen marble top profusely inlaid with 161 coloured stones in concentric rings, including imperial

88 FULHAM ROADFINE ANTIQUE FURNITURE

Front cover:

DETAIL OF GEORGE III PAINTED COMMODE (PAGE 2)

i hope you enjoy this, our latest catalogue.

Quality pieces have become even more difficult to find; within these pages we hope you will find numerousitems which meet this criteria.

We have recently refurbished our showrooms, the solid oak flooring on the ground floor giving a much morecontemporary setting to the pieces we display in keeping with current interior design schemes.

as ever we welcome you to our gallery and whether you are thinking of purchasing any pieces now, in thefuture or wish to discuss any aspect regarding antiques or simply to browse our four floors of antiques at yourleisure, we look forward to seeing you.

Michael Hughes, Melvyn Lipitch

88 Fulham road · London · sW3 6hrtelephone: +44 (0)20 7584 1120 · telephone: +44 (0)20 7589 0660

MichaeL hughesemail: [email protected]

www.michaelhughesantiques.co.uk

Peter LiPitchemail: [email protected]

www.peterlipitch.com

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A magnificent circular specimen marble top profusely inlaid with 161 coloured stones in concentric rings, includingimperial porphyry, granites, serpentines, alabasters and semi-precious stones as well as marbles, centred by acircle of lapis lazuli and borded with Belgian Black, Carrara and Verte Antico marbles; the edge of the table topwith a border of oak leaves with a brass band, supported by a base of three magnificent ‘dolphins’ entwinedaround a central column and on a base of stylised foliage raised on scrolled feet.

English, Circa 1820

Height 34 inches (86.5 cm) Diameter 46 ½ inches (118 cm)

A MAGNIFICENT REGENCY PERIOD SPECIMEN MARBLEAND CARVED GILTWOOD CENTRE TABLE

The painted panels after Angelica Kauffmann. The yellow Jura brocatelle marble top above a leaf and beaded giltfrieze and a bowed panelled front with oval beaded reserve of a hooded seated classical female figure (probablyemblematic of Love) within an entwined ribbon and berry border flanked by upright panels decorated withclassical urns on plinths issuing wheatsheaves and leaves, further flanked by bowed cupboard doors, one withCupid tethering a dove (emblematic of chastity), the other of Cupid emptying a ewer, within entwined ribbonand berry borders, each enclosing a shelf. All on a deep russet ground, on turned reeded and beaded gilt feet andturned toes. With a paper depository label under the marble and the backboard with an inventory number ‘GM67’.

Height 35 inches (89 cm)Width 49 inches (125 cm)Depth 20 ½ inches (53 cm)

Provenance:Blairman & Sons Ltd. (1953).

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FINE ADAM COMMODE ATTRIBUTED TOGEORGE BROOKSHAW CIRCA 1780


Literature:illustrated in, M. Jourdain and F. Rose, ‘English Furniture: The Georgian Period (1750-1830)’, 1953, p.145, pl.112.Related Literature: E.T. Joy, ‘A Painted Neo-Classical commode’, Connoisseur, vol. 169, September-December, 1968,pp. 166-167 Lucy Wood, ‘George Brookshaw, Peintre Ebéniste par Extraordinaire’, Apollo, June 1991, p. 390, fig. 8Lucy Wood, Lady Lever Art Gallery Catalogue of Commodes, 1994, pp. 246-253 Yvonne Jones, ‘George Brookshaw’,Furniture History Society newsletter 173 February 2009.

This present piece belongs to a group of closely related semi-circular commodes attributed to the cabinet-makerand botanical artist George Brookshaw. These include an example from the collection of Algernon Heber Percy,Hodnet Hall Shrophire, with reputed provenance from Hugh Percy, 1st Duke of Northumberland (1714-86), atNorthumberland House, Strand, sold Christie’s London, 23 November 1967, lot 116 and Sotheby’s London, 7November 1997; a commode formerly at Dyrham Park; and a commode sold by James Orrock, to Sir W.H. Leverin 1903 (see L. Wood Catalogue of Commodes op. cit., p. P.246, footnote 13 and p. 247. figs 238 and 239 and No.30, pp. 248-251). This group shares a very similar scheme of painted decoration carved guilloche borders. Howeverthe offered example is distinguished by its red-ground palette to the three front panels and the presence of amarbletop as opposed to a painted top.

George Brookshaw established his cabinet-making business on Curzon Street by 1777. He later moved to 48 GreatMarlborough Street in 1782, describing himself as a cabinet-maker, commode maker and ‘Painter Ebéniste parExtraordinaire’. Brookshaw was born in 1753, although nothing is known of his father’s trade, his brother is laterrecorded as a engraver working in Paris and Yvonne Jones, former head of Arts and Museums, Wolverhamptonhas recently discovered that Brookshaw was apprenticed to a Birmingham japanner. In 1778 he married SobieskiGrice, daughter of a wealthy Birmingham gunmaker and it may well of been her dowry that established him inbusiness. He listed his specialism in painted furniture and ‘....a great variety of new fashioned chimney-pieces, tocorrespond with his furniture, which are all made in a style peculiar to himself, in copper and marble painted andburnt-in...’ His clients included the most fashionable patrons of the time including the Prince of Wales, Duke ofDevonshire, Lord Delaval, the Duke of Beaufort and William Blathwayt . He last appears in the trade directoriesaround 1794 and it would seem that he then set forth on a career as a botanical illustrator, publishing, A NewTreatise on Flower Painting using the alias G. Brown although in 1816, a virtually identical work was publishedunder the name George Brookshaw Esq. Lucy Wood documents the case for them being the same person in ‘GeorgeBrookshaw’, parts I and II, Apollo, May and June 1991, pp. 383-397 as well as speculating that the failure of hismarriage and a withdrawal of capital investment may have resulted in the cabinet-making business ceasing totrade in the 1790s.

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A PAIR OF GEORGE III CARY GLOBES


A pair of 21in./53.5cm celestial and terrestrial Cary globes each raised on tripod fluted and tapering legs joinedby cross stretchers with central compass and ending in brass castors.

Circa 1810

Literature:One of the most important globe making firms of the early 19th. Century. Founded by John Cary (1755-1835), anengraver and map seller. In 1770, he was apprenticed to William Palmer and made a freeman in 1778. He startedhis globe making business in 1791, when he advertised terrestrial and celestial globes varying in size from 3.5in.to 21in. In making globes and plantaria, Cary worked with his brother William (1759-1825). His main businesswas making musical instruments. Cary’s firm was located at 181 The Strand and in about 1820, John moved to 86St. James’s Street, leaving his location in the Strand to is two sons, George and John Cary Jr. who also dealt in theglobe making business.

Height 46 inches (117 cm)Width 23 inches (59 cm)

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A FINE GEORGE III MAHOGANY BOOKCASE CABINET

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The lower section with a pair of cupboard doors opening to three sliding shelves. The cresting with a partial paperlabel inscribed KENSINGTON, the backs of each section with chalked number DW938. The reverse of the right cupboard door bearing a black ivorine Norman Adams label.

This bookcase combines several decorative motifs found in Thomas Chippendale’s The Gentleman and Cabinet-Maker’s Director, 1754: the double C-scrolls and scrolled acanthus carving of the broken-pedimented cresting is similar to the design of a ‘Desk & Bookcase’, pl LXXVIII, and is closely related to a bookcase which was withMaple & Co., Ltd, London, illustrated,The Antique Dealers’ Fair and Exhibition, 1954, p. 56. The gothic andChinese style glazing bars share affinities with a design for a ‘Library Bookcase’, pl. LXXI, and those on a breakfrontlibrary bookcase (one of four) almost certainly supplied by Thomas Chippendale to Sir Rowland Winn for hisLondon house, 11 St. James’s Square, and now at Nostell Priory, Yorkshire; see C. Gilbert,The Life and Work ofThomas Chippendale, 1978, vol.II, p.41, fig. 65. The glazing bars are also similar to those of a ‘Chinese Case’, pl.106, and the glazing bars of another breakfront bookcase possibly supplied by Chippendale for Henry Hobhouse’shouse in Bristol, moved to Hadspen House, Castle Cary, Somerset, sold at Sotheby’s house sale, Hadspen House,May 29-31, 1996, lot 24, and later, Christie’s New York, October 18, 2001, lot 300 Lastly, the use of applied carvedflower- head paterae to the corners of the cupboard doors of the present lot is a motif used frequently byChippendale and is seen in a design for a ‘Desk Bookcase’, pl. CVII, of the 3rd edition of the Director.

Circa 1765

Provenance:Norman Adams, Ltd., London.

Height 8 ft. 2 inches (248.9 cm)Width 4 ft. 4 inches (132.1 cm)Depth 18 ¾ inches (47.6 cm)

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AN EXCEPTIONALLY RARE SET OF THREE 19TH CENTURY FLORAL SHELL WORK ORNAMENTS

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An exceptionally rare set of three shell work floral ornaments consisting of one pair and one central ornament on slightly differing stand. Created with alarge variety of shells from many parts of the world to form a highly colourfuldisplay of fauna, flowers and wheat sheaf of superb quality, delicacy and artistry.Each ornament within a glass dome and mahogany stand raised on turned feet. The floral bouquets with a mass of flower heads and wheat sheaf raised ondecorated urn vases surrounded by shells and fauna.

Circa 1840

Provenance:The creation of pieces made from shells can be found in various forms, examplesbeing the Sharpham Stand made in the late 18th Century to contain a shell work grotto and an Irish cabinet made in 1810 containing a fantasy grottoof shell work, made by Elizabeth Penrose. Shell work pieces are known from the17th Century, by the 18th Century shell work had become a popular craft usuallycarried out by women, in 1703 the Edinburgh Gazette was advertising theservices of a woman in London teaching shell work techniques. The diaristBoswell also refers to a Miss Mclean an accomplished shell work lady in Scotland.

Literature:A very similar pair in the Victoria and Albert Museum and illustrated in the‘Dictionary of English Furniture’ by Ralph Edwards and Percy Macquoid, 1954rev. ed. Vol. 111, p.116, fig. 1.

Pair:Height 24 inches (61 cm)Diameter 9 ½ inches (24 cm)

Single:Height 30 ¼ inches (77 cm)Diameter 12 ¾ inches (32 cm)

Showing one of pair in theVictoria and Albert Museumand illustrated in Dictioneryof English Furniture.

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A George II walnut armchair with outswept arms and shaped wings. The front cabriole legs carved with acanthusleaves and paterae and finishing with claw and ball feet. In fine condition throughout; re-upholstered and coveredwith French silk.

Circa 1725

Height 45 ½ inches (116 cm)Width 36 ½ inches (93 cm)Depth 20 inches (51 cm)

A GEORGE II WALNUT ARMCHAIR

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Constucted in mahogany, the green leather re-lined top with two ratcheted reading rests above a carved fret-workfrieze. The pedestals each with side carrying handles and with three graduated drawers to both sides and retainingtheir original brass swan-neck handles.

Circa 1765

Certain constructional features, such as the central placement of the casters, the short-grain framing within thedrawer cavity and the use of red wash were used by Thomas Chippendale, while the use of a blind-fret friezeappears on a documented secretaire cabinet supplied to Sir Lawrence Dundas, Aske Hall, Yorkshire, (seeChristopher Gilbert, The Life and Work of Thomas Chippendale, London, 1978,vol II, page 56, fig87.

Height 30 ¼ inches (77 cm)Width 57 ½ inches (146 cm)Depth 35 ½ inches (90 cm)

A CHIPPENDALE PERIOD PARTNERS DESKOF A RARE DESIGN

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AN EXCEPTIONAL PAIR OF GEORGE III GILTWOOD MIRRORS OF OVAL FORM

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An exceptional pair of George III giltwood mirrors of oval form and finely carved with trailing leafwork, pateraeand rams-heads. The pediment with a flamed urn on a tripod. Retaining partial original gilding.

Circa 1775

Width 36 inches (91.44 cm)Height 63 inches (160.02 cm)

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A PAIR OF GEORGE III FIGURED SATINWOODAND PAINTED SIDE TABLES

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A pair of George III period figured satinwood demi-lune side tables each inlaid throughout with tulipwood andpurple-heart crossbanding and with painted floral decoration to the frieze and legs. Standing on square tapered legs.

Circa 1790

Height 34 inches (86 cm)Width 47 inches (120 cm)Depth 21 ½ inches (54 cm)

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A pair of George III Mahogany Armchairs with shaped carved and moulded ‘show-wood’ upholstered backs withscrolled arms and standing on carved cabriole legs.

Circa 1775

Height 36 inches (91 cm) Width seat 24 ¾ inches (63 cm)Depth seat 21 ¼ inches (54 cm)

A PAIR OF GEORGE III MAHOGANY ARMCHAIRS

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A George III mahogany commode in the manner of Henry Hill of Marlborough. Of serpentine form and veneeredin highly figured “flame” mahogany with crossbanding to the top and drawer fronts. Having a brushing slide tothe frieze and with gilt brass swan-neck handles.

Circa 1780

Height 33 ½ inches (85 cm)Width 46 ½ inches (118 cm)Depth 22 ¼ inches (56.5 cm)

A GEORGE III MAHOGANY COMMODE IN THE MANNER OF HENRY HILL OF MARLBOROUGH

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A GEORGE 111 MAHOGANY AND INLAID IVORY CELLARET

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An exceptionally rare if not unique George IIImahogany and inlaid ivory cellaret, therectangular hinged top with a raised centresection inlaid with ivory and with a border ofivory of circular interlaced pattern design, thetop opening to reveal fitted compartments for 24 wine bottles, the front inlaid with ivoryswags and ivory roundels and the corners withrusticated quoins, the cellaret raised on squaretapering legs also with rusticated quoins.

Circa 1795

Literature: A longcase clock by Robert Anderson of Liverpool, illustrated in ‘The Noel Terry Collection of Furniture andClocks’ published by Christie’s, page 24. Has similar rusticated quoin design. The collection now on display at Fairfax House, York.

The cellaret although made in England, it may have been sent to India to be inlaid with ivory, possibly by anEnglish merchant with Indian connections or was inlaid in England incorporating designs of Indian origin.

Height 22 ¼ inches (56.5 cm)Width 28 ½ inches (72.4 cm)Depth 19 ½ inches (49.5 cm)

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A fine George II Eagle Console table with a marble top, having a vitruvian scroll carved apron with punchdecorated ground, over a finely carved eagle on stylized rockwork base standing on a plinth having a gadroonedcarved edge.

Circa 1745

Height 31 ½ inches Width 31 ½ inches Depth 20 ½ inches

A FINE GEORGE II EAGLE CONSOLE TABLE

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George III satinwood dressing chest of drawers of serpentine shape. The top inlaid with an oval ‘flame-figured’mahogany panel within a cross-banded border. The top drawer with a fitted writing surface and sliding to reveallidded compartments and a folding mirror. Retaining its original gilt-brass handles and standing on sweptbracket feet.

Circa 1790

Height 33 inches (83.82 cm)Width 41 ½ inches (105.41 cm)Depth 22 ¼ inches (56.51 cm)

GEORGE III SATINWOOD DRESSING CHEST OF DRAWERS

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Each with a ram's-head finial above an eagle on a leaf and tassel-carved upright issuing two scrolling brancheswith figure heads supporting gilt-metal sconces, the sconces drilled and fitted for electricity.

Circa 1815

Provenance:Probably acquired by Sir James Montgomery 2nd Bt., for Stobo Castle, Peeblesshire, and by descent at Stobo andKinross.

Height 28 inches (71 cm) Width 12 inches (31 cm)

A PAIR OF REGENCY GILTWOOD WALL-LIGHTS

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A pair of George III Regency period painted and gildedchairs with later decoration in the manner of HenryHolland, with channelled toprails, finials and ormolusplats in the form of a laurel wreath, with scrolledarms, the cane seats now with a squab cushions, above panelled friezes and corner paterae, raised onchannelled sabre legs.

Circa 1810

Height 35 inches (89 cm)Width 22 ½ inches (57 cm)Depth 26 ½ inches (67 cm)

Provenence:A similar set of chairs reputed to have come fromMarquesses Conyngham, Slane Castle, Ireland sold inChristie’s, 29th June 1978. Lot 28. Decorated insimulated rosewood and gilt.

A PAIR OF GEORGE III REGENCY PERIOD PAINTED AND GILDED ELBOW CHAIRS

A PAIR OF REGENCY PERIOD ELBOW CHAIRS IN THE MANNER OF THOMAS HOPE

A pair of George III Regency period black and giltelbow chairs in the manner of Thomas Hope, thecurved, padded top rails above an ‘X’ back withcentral paterae and with moulded inswept arms withcarved and gilded acanthus leaf, the cane seats fittedwith squab cushions, the seat rails with fluted gildingand paterae, raised on front sabre legs and outsweptlegs at the rear.

Height 34 inches (87 cm)Width 22 inches (56 cm)Depth 21 inches (53.5 cm)

A more elaborate mahogany chair but of similar formillustrated in Thomas Hope, ‘Household Furnitureand Interior Decoration’, London, 1807, plate 11, no.3and 4.

Literature:The design for these chairs is linked to designs by Henry Holland. These chairs incorporate aspects of designfound on two different patterns of chair supplied to Samuel Whitbread for Southill under the direction of HenryHolland, see Francis Collard publication, ‘Regency Furniture’ page 44/45. Similar chairs in Brighton Pavilion.

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A nest of quartetto tables in mahogany, theshaped tops crossbanded with satinwood androsewood. Each standing on twin turned‘bamboo’ supports ending with inlaid sweptfeet and with curved stretchers.

Circa 1780

Height 30 inches (76 cm)Width 24 ½ inches (61 cm) Depth 12 inches (30 cm)

A NEST OF qUARTETTO TABLES IN MAHOGANY

REGENCY MAHOGANY AND EBONY INLAID WINE COOLER

A regency mahogany and ebony inlaid wine cooler with Leopard’s head carved corners above stop-fluted cants on carved claw feet.Retaining its original liner. Very good colour throughout

Circa 1820

Height 21 inches (53.5 cm)Width 30 ½ inches (77.5 cm) Depth 18 inches (46 cm)

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A superb pair of ‘Wellington’ chests of drawers in highly figured mahogany with original knob handles andunusually with panelled mahogany backs enabling them to be used free-standing. Each one with a locking pilasteron the right hand side. Variations in dimensions.

Circa 1840

A) Height 56 ½ inches (144 cm)Width 23 ½ inches (60 cm)Depth 17 ¼ inches (44 cm)

PAIR OF ‘WELLINGTON’ CHESTS OF DRAWERS

B) Height 57 ½ inches (146 cm)Width 24 ¾ inches (63 cm)Depth 18 ¼ inches (47 cm)

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A nineteenth century Brass Hall Lantern of hexagonal form and with an opening door to one facet.

Circa 1850

Provenance:By repute, Knypersley Hall, Staffordshire.

Height 33 inches (84 cm)Width maximum 19 inches (48.5 cm)

A NINETEENTH CENTURY BRASS HALL LANTERN

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A George III mahogany serpentine shaped side cabinet inlaid throughout with satinwood cross-banding. Havingthree graduated drawers to the centre flanked by cupboards at each end. Standing on square tapered legs withspade feet.

Circa 1780

Height 33 ½ inches (85 cm)Width 57 inches (145 cm)Depth/centre 24 ½ inches (62 cm)Depth/ends 15 inches (38 cm )

A GEORGE III MAHOGANY SERPENTINE SHAPED SIDE CABINET

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A SET OF EIGHT GEORGE III HEPPLEWHITE PERIOD ELBOW CHAIRS

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A set of eight George III mahogany Hepplewhite period elbow chairs after a design by James Wyatt, each with anoval back with bead work and three vertical reeded splats with flower head centers, the beaded arms with scrolledrosette carved terminals, the stuff-over seats raised on front square tapering legs with bead work and headed byrosettes and terminating in spade feet.

Six chairs of same form and one pair with differences.

Circa 1780

Provenance:Frank Partridge Ltd.

Literature:A similar chair obviously from the same workshop illustrated in R. Edwards & Percy Macquoid, ‘Dictionery ofEnglish Furniture’ another example in Temple Newsam House and illustrated in the Furniture of Temple NewsamHouse and Lotherton Hall, by Christopher Gilbert, Vol.1. plate 83.

James Wyatt:A drawing by him, ‘Four variations of armchairs and side chairs’, now in the Bibliotheque Jacques Doucet, PhotoSociete des Amis de la Bibliotheque D’Art et d’Archeologie, Paris. He produced many designs both for the firmsof Hepplewhite and Gillow.

Height 33 ½ inches (85 cm)Width 48 inches (122 cm)Depth 18 ½ inches (47 cm)

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A George II Irish mirror in original dry stripped state and retaining traces of original gilding, the later mirror platewithin an acanthus carved frame, surmounted by a flowering urn flanked by pheasants, the apron centred with acarved male mask.

Circa 1740

Related Irish mirrors illustrated in ‘Irish Furniture’ by The Knight of the Giln and James Peill.

Height 54 inches (137 cm) Width 30 inches (76 cm)

AN IRISH GEORGE II CARVED GILTWOOD MIRROR

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A pair of George III Sheraton period rosewood card tables, the tops crossbanded in rosewood and with a wideband of satinwood inlay, opening to reveal a baize lined interior, above a frieze with rectangular panels of inlaidbox wood and a centre tablet with milled moulding, the tables raised on four turned legs with turned roundelsand inlaid stringing.

Circa 1795


A PAIR OF GEORGE III SHERATON PERIOD CARD TABLES

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A REGENCY ROSEWOOD AND BRASS INLAID CENTRE TABLE

A regency figured rosewood centre/dining table,the top with a scroll pattern brass inlaid border.Standing on an inverted triangulated base inlaidwith kingwood and raised on swept ormolu feet.

Circa 1820

Height 27 ½ inches (70 cm)Diameter 48 inches (122 cm)

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A fine and unusual George II rosewood and burr yew wood coffer of excellent colour, the upper part with a hingedlift-up top, the top sides and front in rosewood crossband in burr yew wood, purple heart banding and boxwoodand ebonised lines, with two drawers below with crossbanding and inlaid lines and retaining their originalhandles, all supported on a stand with square legs.

Circa 1750

Height 35 ½ inches (90 cm) Diameter 48 inches (122 cm) Depth 23 ½ inches (59 cm)

A GEORGE II ROSEWOOD AND YEW WOOD COFFER

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A PAIR OF GEORGE III GILTWOOD CHAIRSDESIGNED BY JOHN LINNELL

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An exceptional pair of George III giltwood armchairs designed by John Linnell, each made with removable back,seat and arm rests, the channelled frame carved with guilloche and surmounted by a laurel-bound cabochoncartouche, the out-scrolled arms terminating in acanthus spheres and with husk-trailed panels, the serpentinechannelled seat-rails carved with entralac design and centred by a acanthus foliated cartouche, the chairs raisedon chamferred tapering legs with guilloche panels and ending in moulded feet.

Circa 1770

Height 37 ½ inches (95.5 cm)Width 24 ½ inches (61 cm)Depth 24 ½ inches (62 cm)

Literature:The original pen and ink design for these chairs by John Linnell in the archives of the Victoria and Albert Museum.

Identical chairs illustrated in ‘William and John Linnell, Eighteenth Century, London, Furniture Makers’ by HelenaHayward and Pat Kirkham. A set of six chairs and two settees made for the Duke of Argyll for his home atInveraray Castle.

Pen and ink drawing of chairs, now in the Victoria andAlbert Museum archive.

Set of six chairs supplied by Linnell for InveraryCastle.

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A GEORGE III MARqUETRY PIER TABLE ATTRIBUTABLE TO JOHN LINNELL

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A fine George III marquetry pier table in sycamore, harewood, and mahogany attributable to John Linnell, the D-shaped top with trellis work and leaf work marquetry within crossbanded border and a gilt-metal leaf-cast edgeabove a frize with marquetry roundels and simulated fluting above a gilt-metal entrelac border, all raised on squaretapering legs inlaid with entwined vine headed by satinwood panels with later metal mount borders.

Circa 1780

Literature:A virtually identical pair of tables illustrated in ‘William and John Linnell, Eighteenth Century London FurnitureMakers’ by Helena Hayward and Pat Kirkham, plates 309 and 310. Now at Hevingham Hall, Suffolk.

Height 33 ½ inches (85 cm)Width 48 inches (122 cm)Depth 18 ½ inches (47 cm)

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A PAIR OF CARY'S GLOBES, LONDON, CIRCA 1816

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Each standing on a mahogany stand with turned supports and swept feet ending with brass casters, with woodenhorizon rings laid with paper , the compasses restored. The Terrestrial globe label inscribed ‘CARY’s NEWTERRESTRIAL GLOBE exhibiting the Tracks and Discoveries made by CAPTAIN COOK……. made and sold byJ & W Cary, Strand, March 1st, 1816 with corrections and additions to 1815’ : The Celestial globe label inscribed‘CARY’S NEW CELESTIAL GLOBE on which are laid down THE WHOLE of the STARS NEBULAE…LondonMade and sold by J&C CARY, Stand March 1816’.

Circa 1816

Height 42 inches (107 cm)Width 23 inches (58.5 cm)

Literature:One of the most important globe making firms of the early 19th. Century. Founded by John Cary (1755-1835), anengraver and map seller. In 1770, he was apprenticed to William Palmer and made a freeman in 1778. He startedhis globe making business in 1791, when he advertised terrestrial and celestial globes varying in size from 3.5in.to 21in. In making globes and plantaria, Cary worked with his brother William (1759-1825). His main business was making musical instruments. Cary’s firm was located at 181 The Strand and in about 1820,John moved to 86 St. James’s Street, leaving his location in the Strand to is two sons, George and John Cary Jr. whoalso dealt in the globe making business.

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A George I period carved gesso mirror with a bold scallop shell to the top and finely etched and carved flowersthroughout. Retaining its original gilding.

Circa 1715

Height 54 inches (137 cm)Width 28 inches (71 cm)

A GEORGE I PERIOD CARVED GESSO MIRROR

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Kingwood crossbanded and ebony line-inlaid, the superstructure with an ormolu gallery and three graduatedopen shelves above a mahogany and cedar-lined frieze drawer and concave shaped brass grilled doors enclosingthree adjustable shelves on short square tapering legs with brass caps and castors.

Circa 1790

Height 59 ¾ inches (152 cm)Width 28 inches (71 cm)Depth 16 ½ inches (42 cm)

Provenance:New Hall Manor, Salisbury, Wiltshire.A private collection at High Hall, Dorset.

A GEORGE III SATINWOOD SIDE CABINET

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A pair of regency mahogany tub shaped armchairs with caned backs. With carved reeded front rails and standingon sabre legs terminating with brass square box casters.

Circa 1820

Height 34 inches (86.36 cm)Width 21 inches (53.34 cm)Depth 21 ½ inches (54.61 cm)

A PAIR OF REGENCY TUB ARMCHAIRS

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A rare and small mid-eighteenth century mahogany tripod table with a pumpkin-shaped moulded edge top.Having a bird-cage support and standing on a plain turned stem with cabriole legs ending with pad feet.

Circa 1760

Diameter 23 ½ inches (60 cm)Height 27 inches (69 cm)

MID-EIGHTEENTH CENTURY MAHOGANY TRIPOD TABLE

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A GEORGE III ROSEWOOD AND PAINTED COMMODE

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A George III painted rosewood and satinwood inlaid demi-lune commode with a gilt metal moulding to the topand painted with ivy leaves, garlands of flowers and classical urn and foliate motifs. The frieze with oval tabletsdepicting Roman heads within gilt brass borders and having a drawer to the centre. The commode with themajority of its original paintwork . With twin cupboard doors to the front flanked by mock doors to the sides withlattice decoration to the pillars and standing on tapered legs with inlaid flutes and spade feet.

Circa 1790

Height 35 ¼ inches (89.5 cm)Width 40 ¾ inches (103.5 cm)Depth 18 inches (46 cm)

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A PAIR OF WILLIAM AND MARY PERIOD JAPANNED CARD TABLES

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A fine and extremely rare pair of Williamand Mary japanned cardtables, decoratedwith scenes of chariots drawn by stags,accompanied by riders on horseback,foliage and trellis work, the tops openingto reveal a later velvet lined interior withsimilar japanned border to tops, above anarcaded freize with a drawer at each end,all raised in tapering octagonal legs thefront centre legs swing out to support topwhen open.

Circa 1690

Height 31 inches (81 cm)Width 43 ½ inches (110.5 cm)Depth 14 inches (35.5 cm)

These table are particularly rare because oftheir unusually large proportion and withtheir japanned decoration in mainlyoriginally state.

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A George III oval carved giltwood mirror of rococo form with original gilding and plate.

Circa 1760

Width 25 inches (64 cm)Height 49 inches (125 cm)

A GEORGE III OVAL CARVED GILTWOOD MIRROR

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A George III period kettle stand in richly figured mahogany having a moulded dish shaped circular top, raised on a turned stem having a spiral knop. Standing on a tripod support with pad feet with unusual ‘ears’ to the sides.

Circa 1760

Height 23 ½ inches (60 cm)Diameter top 10 ½ inches (27 cm)

A GEORGE III PERIOD KETTLE STAND

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A George III Chippendale period mahogany pedestal desk of excellent colour, the banded top lined in a later greenleather, above two drawers and dummy drawers at the rear, the pedestals also fitted with drawers and cupboarddoors, the desk retaining its original handles and raised on a plinth support.

Height 32 inches (81.5 cm) Width 55 inches (140 cm) Depth 34 ½ inches (88 cm)

A GEORGE III CHIPPENDALE PERIOD MAHOGANY PEDESTAL DESK

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Inlaid throughout with partridge-wood, boxwood and kingwood. The upper section having twin doors withunusual brass glazing bars crossbanded with kingwood and opening to contain adjustable shelving. The lowersection with a secretaire drawer with original gilt-brass ornate ring handles opening to reveal a leather linedwriting surface with pigeon-holes and drawers. Flanked by twin columns each with boxwood line inlay and endingin toupe feet. Throughout retaining a lovely colour and in excellent condition.

Circa 1810

Height 79 inches (201 cm)Width 37 inches (94 cm)Depth 19 ¼ inches (49 cm)

A REGENCY ROSEWOOD SECRETAIRE CABINET IN THE MANNER OF ‘GILLOWS of LANCASTER’

52


A George III mahogany demi-lune commode inlaid with tulipwood and partridge wood. The twin doors veneeredin richly figured mahogany and opening to reveal shelving and with matching end panels. Standing on originalswept bracket feet. Fine colour and condition.

Circa 1790

Height 30 ½ inches (78 cm)Width 36 inches (91.5 cm)Depth 17 ½ inches (45 cm)

GEORGE III MAHOGANY DEMI-LUNE COMMODE

53


A pair of George III Gainsborough armchairs in mahogany with carved scrolled arms and standing on carvedmoulded front legs with reed-and-flute and bead-and-dart and foliate scrolls, and scrolled corner brackets, minorvariations.

Circa 1770


A PAIR OF GEORGE III GAINSBOROUGH ARMCHAIRS

54


A GEORGE III MAHOGANY SERPENTINE COMMODE

55


A fine George III serpentine mahogany commode of unusual form and in the manner of Henry Hill, the top withan inverted superstructure with two panelled doors opening to reveal an interior of pigeon holes and small drawers, above a sliding top and with four graduated drawers below fitted with swan neck handles, the commode raised on shaped legs.

Circa 1770

Literature:The above commode with its serpentine corners and shaped apron relates to a distinctive group of commodes byHenry Hill of Marlborough, illustrated in ‘The Lady Lever Art Gallery, Catalogue of Commodes’ by Lucy Wood,see page 71, plate 56 and page 72, plates 57 and 58.

Height 43 inches (109 cm)Width 42 inches (105 cm)Depth 24 inches (60 cm)

56


A Regency Drum Top table in mahogany with ebony inlay. The revolving leather lined top with four drawers andfour mock drawers to the frieze. Standing on a turned stem with four swept legs with central grooves and endingwith brass box casters. One drawer with a Norman Adams label.

Circa 1810

Diameter 41 ½ inches (105 cm)Height 30 ¼ inches (77 cm)

A REGENCY DRUM TOP TABLE

Back cover:

PAIR OF ADAM PERIOD OVAL MIRRORS

Provenance: ann and gordon getty collection.

height 75 inches (191 cm)Width 34 inches (87 cm)

88 Fulham road · London · sW3 6hrtelephone: +44 (0)20 7584 1120 · telephone: +44 (0)20 7589 0660

MichaeL hughesemail: [email protected]

www.michaelhughesantiques.co.uk

Peter LiPitchemail: [email protected]

www.peterlipitch.com

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FINE ANTIQUE FURNITURE - Amazon S3...FINE ANTIQUE FURNITURE A magnificent circular specimen marble top profusely inlaid with 161 coloured stones in concentric rings, including imperial