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Aidohs > 2g Ye 7 Pali Mn teen dart, 3 ‘y nt Be Shion) Soe tet te fin ARG Maw 8 ashe oh Mote Tae Brelles NR Me Sg SRM edad RS RAH, Mell othe 4 + Raha tiet eee tay Fehr he Hs jack, Hae. 5 ee, Ge, a Ses =p habeas tat Peeing ik PPh be, Borden tn Bolt e?. Pea ter eee ear pista te Wie Ba caibrore ae be eA ot he ed Pa NES Bo fe Sa waitin | Ae testi yy <2 4 AF oe etgatt tm , ope ge ar Lo pages? PR Be sw eee > & 4 “= tHe | el i) Vy Hunt tliddttl THE J. PAUL GETTY MUSEUM LIBRARY THE HENRY SYMONS COLLECTIONS AFTERNOON SESSION EACH DAY AT TWO-THIRTY EVENING SESSION, THURSDAY AT EIGHT-FIFTEEN SALE FROM SATURDAY, JANUARY TWENTY-SEVENTH TO SATURDAY, FEBRUARY THIRD, INCLUSIVE ar i aa Aaa & BR eo Re yes .F ‘BUREAU x CYLINDRE DESK —~ made b ry Riesener This desk is covered with a great variety of figured veneers of bois d’amaranthe, bois de violette, rose, coral, lemon and maple woods. On a kneebole table of four chamfered cabriole supports, enriched with mounts by AEA 22277 ws y dG) Martincourt and lions’ claw sabots; the front ‘pat donnie att furnished with panels of flower urns and a , landscape, with architecture and figures laid in tinted and scorched exotic woods; the returns in marqueterie, simulating wainscot; tbe cylindrical flap with a circular voluted cartouche, occupied by emblems. This is beaded by a meandered incurved cornice, furnished with drawers, and topped by a Bleu Turquin d’ Italie marble top; guarded by a pierced rail. The desk is shown closed in the color illustration; open in the sketch SALE NUMBER 1705 PUBLIC EXHIBITION FROM SUNDAY, JANUARY TWENTY-FIRST THE HENRY SYMONS COLLECTIONS UNRESERVED PUBLIC SALE BY ORDER OF HENRY SYMONS FROM SATURDAY AFTERNOON, JANUARY TWENTY-SEVENTH TO SATURDAY AFTERNOON » FEBRUARY THIRD, INCLUSIVE EVERY AFTERNOON AT TWO-THIRTY AND THURSDAY EVENING AT EIGHT-FIFTEEN THE ANDERSON GALLERIES [MITCHELL KENNERLEY, Presipent] PARK AVENUE AND FIFTY-NINTH STREET, NEW YORK ~, a CONDITIONS OF SALE ALL BIDS TO BE PER PIECE AS DESCRIBED IN THE CATALOGUE. The highest bidder to be the buyer. In all. cases of disputed bids the decision of the Auctioneer shall be final. | Buyers to give their names and addresses and to make such cash payments on account as may be required, in default of which the lots pur rchased shall be resold immediately. Purchases to be removed at the buyer’s expense and risk within twenty-four hours from the conclusion of the sale, and the remainder of the purchase money to be paid on or before delivery, in default of which The Anderson Galleries, Incorporated, will not be responsible for any loss or damage whatever, but the lot or lots will be left at the sole risk of the purchaser, and subject to storage charges. All lots will be placed on public exhibition before the date of sale, for examina- tion by intending purchasers, and The Anderson Galleries, Incorporated, will not be responsible for the correctness of the description, authenticity, genuine- ness, or for any defect or fault in or concerning any lot, and make no warranty whatever, but will sell each lot exactly as it is, WITHOUT RECOURSE. If accounts are not paid and purchases removed within twenty-four hours of the conclusion of the sale, or, in the case of absent buyers, when bills are rendered, any sum deposited as part payment shall be forfeited, and The Anderson Gal- leries, Incorporated, reserve the right to resell the lot or lots by either private or public sale, without further notice, and if any deficiency arises from such resale it shall be made good by the defaulter, together with all expenses in- curred. This condition shall be without prejudice to the right of this Com- pany to enforce the sale contract and collect the amount due without such resale, at its own option. The Anderson Galleries, Incorporated, will afford every facility for the employ- ment of carriers and packers by the purchasers, but will not be responsible for any damage arising from the acts of such carriers and packers. The Anderson Galleries make no charge for executing orders for their cus- tomers and use all bids competitively, buying at the lowest price permitted by other bids. Priced Copy of this Catalogue may be secured for fifty cents for each session of the sale THE ANDERSON GALLERIES, INC. PARK AVENUE AND FIFTY-NINTH STREET, NEW YORK TELEPHONE PLAZA 9356 SALES CONDUCTED BY MR. FREDERICK A. CHAPMAN THE J. PAUL GETTY MUSEUM LIBRARY ORDER OF SALE SATURDAY AFTERNOON, JANUARY TWENTY-SEVENTH. OLD GEORGIAN AND CONTINENTAL SILVER 187 MINTON PORCELAIN FLOWER VASES 88— 98 OLD ENGLISH SHEFFIELD PLATE, ETC. 99-148 MONDAY AFTERNOON, JANUARY TWENTY-NINTH OLD ENGLISH FURNITURE AND PAINTED ROOMS: 17TH, 18TH AND EARLY 19TH CENTURIES 149-308 TUESDAY AFTERNOON, JANUARY THIRTIETH DECORATED AND MARQUETERIE COFFERS 304—321 NEEDLEWORK AND EMBROIDERY PICTURES, ETC. 322-348 ENGLISH AND CONTINENTAL PORCELAIN AND POTTERY 349-364 EXCEPTIONALLY RARE ORIENTAL LOWESTOFT URNS, VASES, DINNER AND TEA SERVICES: 365—422 ENGLISH METALLIC RESIST (LUSTRE) WARE: COPPER, SILVER AND PURPLE 423-470 WEDNESDAY AFTERNOON, JANUARY THIRTY-FIRST OLD ENGLISH FURNITURE AND PAINTED ROOMS: 17TH, 18TH AND EARLY 19TH CENTURIES 471-627 THURSDAY AFTERNOON, FEBRUARY FIRST OLD ENGLISH FURNITURE: 17TH, 18TH AND EARLY 19TH CENTURIES 628—686 EARLY AMERICAN FURNITURE 687—700 OLD ENGLISH FURNITURE, PAINTED ROOM, PAINTING BY PIETER HARDIME, AND 18TH CENTURY E NGLISH PIPE ORGAN WITH PAINTED PANELS BY BENJAMIN WEST, R.A., FORMERLY BELONGING TO LORD LOVELACE 701—780 THURSDAY EVENING, FEBRUARY FIRST NAVAL AND MARINE PRINTS 781—800 THE RARE MARINE SERIES IN COLOR, AFTER THE FA- MOUS PAINTINGS BY DOMINICK SERRES, R.A. 801-813 MARINE AND NAVAL PAINTINGS BY THE ENGLISH MAS- TERS OF THE EIGHTEENTH CENTURY 814-837 SHIP MODELS 838—887 SHIP BELLS, NAVAL CANNON AND MARINE RELICS 888—896E OLD ENGLISH SPORTING PRINTS AND PAINTINGS 897—909 FRIDAY AFTERNOON, FEBRUARY SECOND OLD ENGLISH, FRENCH AND ITALIAN FURNITURE, PAINTED WAINSCOT ROOMS, AND IMPORTANT TAPES- TRIES . 910-1054 SATURDAY AFTERNOON, FEBRUARY THIRD OLD FRENCH AND ENGLISH FURNITURE, AND IMPOR- TANT TAPESTRIES 1055-1179 THE HENRY SYMONS COLLECTIONS HE great collection of works of art formed by the internationally known expert and connoisseur, Henry Symons of New York and London, in as- sociation with Harry Simmons of London, a judge of unquestioned authority in the art world and president of the British Antique Dealers’ Association, should prove of exceptional interest to an exceptional gathering of collectors and amateurs. There are 1200 numbers in the collection, which is remarkable in its range and importance, its variety and completeness. No form of art endeavor has escaped the ardent explorer. The most characteristic and esthetically perfect objects have been acquired from famous collections and noble estates in England and France. While the list of former owners reads like an extract from Burke’s Armoury, the names of tapestry weavers, designers, cabinet makers, silver- smiths, potters, clockmakers, et cetera, which figure in the catalogue, give as- surance of the highest artistic standard. THE TAPESTRIES include: A Set of Four Gold Thread Gobelin Tapestries of the Seventeenth Century, representing The Seasons, woven by Jean Jans the younger, after the enchant- ing cartoons by Lucas Van Leyden. (From Balloch Castle) A Fifteenth Century Gothic Tapestry of Paris weave, inscribed ‘Le Cerf Humain”’, composed in the most romantic vein of that memorable epoch of Agincourt, Joan of Arc, the Wars of the Roses, the fall of Constantinople in the East, and the visions of Columbus in the West. (From the Collection of the Marquis of Breadalbane) A Set of Four Queen Anne Tapestries, representing the elements after the Lebrun cartoons, woven by John VanderBank (Vandrebanc) at Great Queen Street, London, for the first Lady Guilford to cover the walls of the Prince of Wales’ apartments upon his visit to the Abbey. (From the Collection of Lord North of Wroxton Abbey) (Lord North, the only son of the Earl of Guilford, was British Premier during the period of the Revolutionary War, and with the help of the “King’s Friends” carried out the policies which resulted in George III exclaiming, after Yorktown, “O God, it is all over!) A Don Quixote High Loom Tapestry, woven by the celebrated Guillaume Wernier of Lille, about 1733. (From the Countess of Craven) A Beauvais Tapestry of the Régence, by Jean Berain, with architecture and figures in the French-Indian taste. Three Brussels “Royal Hunt” Tapestries, by Jan de Vos after Van Der Meulin, and others of equal importance. Two Beauvais Tapestry Cantonniéres of the Louis Seize period by the cele- brated Salembier. In the field of Ory PorcEeLatn, some remarkable finds have been made, particularly the discovery of a beautiful group of Lowestoft Urns, two of which were formerly in the possession of Lord Barnard—the rarest and most fascinating of Chinese porcelains made for the European market. Next to the Lowestoft in popularity will be found the Metallic Resist (Lustre) Ware—copper, silver and purple—well represented by specimens of unusual form and importance. Among many distinctive pieces of Georgian and Continental Silver is a splendid silver Table Centre, from the Duke of Abercorn. The Old Clocks include a handsome Louis Seize mantel clock from Stowe House, the Duke of Buckingham’s famous seat. There are two Cartels from Lady Lucas, Adam Mirrors from Lord Vivian, and other rare mirrors of various periods and designs. The Needlework and Embroidery are exceptionally fine. A feature of great importance to the architectural and decorative pro- fessions will be the display of Nine Complete Wainscot Rooms on Canvas. Two are tooled and painted leather, and one a Queen Anne room, in the Chi- nese taste, painted on paper. Two Ceiling Panels by Sir James Thornhill, the mural decorator of St. Paul’s, will arrest attention. There is also an almost inexhaustible assemblage of Old Paintings, Engravings, Samplers, Screens, and other decorative and valuable objects of domestic enrichment. A large and important Imperial Kashan Rug, formerly in the Shah’s Palace at Teheran, is extremely well balanced in composition and sumptuous in color. A magnificent Pipe Organ, formerly belonging to Lord Lovelace, with panels painted by Benjamin West, R.A., is a notable feature. Italy’s Art is displayed in—amongst other rare pieces——two sets of chairs from the Earl of Leicester, and two great Sixteenth Century Choir Stalls from San Donato, attributed to Pietro Paolo Nardi (Romano), formerly owned by Sir Richard Wallace, and bequeathed by him to Sir John Murray Scott. A carved and polychrome Statue of John the Baptist by Juan Martinez Montajfiez, the celebrated Sevillian sculptor of the sixteenth century, is sure to arouse deep interest. Encuisu Furniture is represented by creations of all the great periods, gathered from the collections of Lady Carlisle, the Earl of Pembroke, and the celebrated philanthropist, the Baroness Burdett-Coutts. A magnificent Book- case by Thomas Chippendale, and a carved circular Writing Table by the same master, in their original state, are included. Among the masterpieces of the French Cabinet Makers’ art are: A Bureau a4 Cylindre, by Riesener, made for the Swedish Ambassador. A Marqueterie Coiffeuse by Adrien Faizelot Delorme, formerly the property of the famous Admiral Viscount Hood. A Coral Wood Commode, by Claude Charles Saunier, with mounts by Gouthiére. (From the Right Hon. Lord Wolverton) An Embroidered Drawing-Room Suite, with frames by Barthélemi Boucault. (From the Earl of Strathmore) A Louis Seize Chaise Longue, by Jean Baptiste Lelarge. (From the Earl and Countess of Essex) A Louis Quinze Commode, by Dubois, of Wallace Collection fame. (From the Dowager Countess Howe) A Library Table, by Beneman, cabinet maker to the Queen, with superb mounts by Thomire. A Secrétaire 4 Abattant, by A. F. Delorme. An Architect’s Drawing Table, by that great follower of Boule, Georges Jacob. In addition, there is the large collection of guéridons, ladies’ writing tables, bonheurs de jour, work tables, needlework bergeéres, and fauteuils. The Vernis Martin Marriage Coach (Berline) of the Comte de Toulouse, painted with allegorical subjects by the brothers Martin, and bearing the arms of France and Toulouse, cannot fail to attract the greatest attention, with its artistic appeal and romantic historical interest. The collection of Ship Models, Naval and Marine Paintings and Prints, Ship Bells, Naval Cannon and other relics, with Old English Sporting Prints and Paintings, is considered the finest ever offered at public sale. The devel- opment and achievements of the British Navy are splendidly illustrated by the collection, which includes the rare marine series in color after the famous paintings by Dominick Serres, R.A. This brief résumé can only convey a slight impression of the scope and richness of the extraordinary collection described in detail in the ensuing pages. SALE SATURDAY AFTERNOON, JANUARY TWENTY-SEVENTH, AT 2:30 10 FIRST SESSION NUMBERS 1-148 THE COLLECTION OF OLD GEORGIAN AND CONTINENTAL SILVER NUMBERS 1-87 SILVER REPLICA, IN MINIATURE, OF A COW SILVER REPLICA, IN MINIATURE, OF A BEAR SMALL GEORGIAN SILVER TRAY Boat shape. Supported by four small fluted feet. By Peter and Ann Bateman. London Goldsmith’s mark, 1794. SMALL GEORGIAN SILVER DESPATCH CASE Mark illegible. SET OF FOUR OLD SILVER CURTAIN HOLDERS In the form of a draped shield bearing a royal coat of arms carved in relief. (4) MUSTARD POT AND CASTER OF GEORGIAN SILVER Circa 1778. (2) GEORGIAN SILVER TRAY Oblong shape; standing on four small scroll feet. Centre engraved lion rampant. Circa 1730. SMALL GEORGIAN SILVER TRAY Beaded border; supported by four small ball and claw feet. By William Potter. London Goldsmith’s mark, 1785. GEORGIAN SILVER COFFEE POT AND COVER Finely chased in a floral and scroll design. By W. J. Priest. London Goldsmith’s mark, 1768. TWO GEORGIAN SILVER CANDLESTICKS Tapered circular columns on square beaded bases. (2) 1 oh! 12 13 14 15 16 17 18 0s) 20 GEORGIAN SILVER COFFEE POT Plain body; spout of a scroll design. By Wiliam Shaw and William Priest. London Goldsmith’s mark, 1749. TWO GEORGIAN SILVER COASTERS Floral and scroll edge; fluted body. By Henry Greenway. London Gold- smith’s mark, 1789. (2) GEORGIAN SILVER SAUCE BOAT Scroll handle; standing on four scroll claw feet. Circa 1789. Weight about 2114 ounces. GEORGIAN SILVER INKSTAND Oblong shape, with beaded and floral rims and three trellis-work gal- leries holding glass inkwells, with silver mounts. On four openwork scroll feet. By William Penson. London Goldsmith’s mark, 1772. TWO GEORGIAN SILVER COASTERS Floral and scroll edges; fluted bodies. By Henry Greenway. London Goldsmith’s mark, 1789. (2) . TWO OLD FRENCH SILVER CANDLESTICKS Triangular tapering columns with oval medallions of mask heads carved on the top, and resting on triangular bases with similarly carved heads. (2) OLD SPANISH SILVER PLAQUE / Representing Columbus, holding a flag, landing in America. In the back- ground may be seen ships. The whole is beautifully hammered out in relief. Moulded brass frame of the period. Dated on the lower right hand corner, 1492. OLD ENGLISH WOOD AND SILVER-MOUNTED CRUET Shaped wood base with silver handle in centre; fitted with five old Water- ford cut glass bottles with silver mounts. AUGSBURG SILVER CUP AND COVER Chased floral and fluted design; standing on four apple and floral feet. Weight about 141 ounces. AUGSBURG SILVER CUP Decorated with oval medallion, figure-head medallions and fruit; standing on three ball and claw feet. bo 21 22 23 24 25 26 27 28 29 30 31 AUGSBURG SILVER-GILT CUP AND COVER Engraved with oval medallions representing battle scenes and vases of flowers. Weight about 12 ounces. SMALL GEORGIAN SILVER TEAPOT AND COVER Oval medallion engraved in centre and surrounded by scrolls; stained green bone handle. By William Eley. London Goldsmith’s mark, 1787. GEORGIAN SILVER COFFEE POT AND COVER Scroll and floral spout. Wooden handle. By George Methuen. Lon- don Goldsmith’s mark, 1760-61. QUEEN ANNE SILVER PLATE With scalloped edge. By Thomas Holland. London Goldsmith’s mark, ECLO-L iy. Weight about 15 ounces. TWO GEORGIAN SILVER CANDLESTICKS Tapered circular column on square beaded base. (2) TWO GEORGIAN SILVER VASES AND COVERS Seroll and fluted handles. By Benjamin Stephenson. London Gold- smith’s mark, 1779. (2) Weight about 40 ownces. GEORGIAN SILVER TANKARD AND COVER Shaped handle bearing initials S.R.S. By Langlands & Goodriche, New- castle, 1754-5. Weight about 24 ounces. SET OF THREE GEORGIAN SILVER CADDIES AND COVERS Finely chased in a floral and scroll design; in sharkskin case with orig- inal lock and handle, and supported by four small silver ball and claw feet. By Samuel Taylor. London Goldsmith’s mark, 1751. (3) Weight of caddies about 28 ounces. GEORGIAN SILVER ENTREE DISH AND COVER Oblong shape, gadrooned edge. Cover with inscription, similar edge and scroll handle. Dublin, circa 1814. TWO GEORGIAN SILVER-GILT CANDLESTICKS Candle holders supported by draped female figures on circular bases in a fluted and leaf design. By William Pitts and Joseph Preedy. London Goldsmith’s mark, 1799. (2) OLD ENGLISH SHEFFIELD SNUFFER AND TRAY Floral, scroll and beaded border. 3 34 35 36 37 38 39 40 41 42 GEORGAN SILVER GOBLET Floral engraving and inscription. Circa 1762-3. LARGE GEORGIAN SILVER SOUP TUREEN AND COVER Oval body with two scroll handles. By S.H. (untraced). Circa 1777. GEORGIAN SILVER WAITER Beaded edge; on three scroll-shaped beaded feet. Centre engraved with presentation inscription. By Peter and Jonathan Bateman. London Goldsmith’s mark, 1790. LARGE SILVER HELMET-SHAPED PITCHER Base and lower part of body chased in a floral and scroll design; top has scroll rim; large scroll handles. By Charles Mullin, Dublin, 1772. GEORGIAN SILVER EPERGNE Base supported by four scroll legs from which hang leaf festoons; four circular baskets, with leaf festoon decoration, extend from the legs. In the centre is a larger and similarly decorated basket. By Matthew Boulton and James Fothergill, Birmingham, 1775. Weight about 48 ounces. GEORGIAN SILVER ENTREE DISH AND COVER Oblong shape, gadrooned edge. Cover with inscription, similar edge and scroll handle. Dublin, circa 1814. GEORGIAN SILVER ENTREE DISH AND COVER Oblong shape, gadrooned edge. Cover with inscription, similar edge and scroll handle. Dublin, circa 1814. ENGLISH GEORGIAN SILVER TEAPOT, COVER AND STAND Chased geometrical border. By John Emes, London, circa 1804. Weight about 15 ounces. ENGLISH GEORGIAN SILVER TEAPOT AND COVER Chased in floral and scroll design. By Jonathan Alleine, London, circa Lia: Weight about 24 ounces. TWO ENGLISH GEORGIAN SILVER COASTERS Openwork design with rosettes. By R. & S. Henell, London, circa 1806. (2) ENGLISH GEORGIAN SILVER SUGAR BASKET Basketwork design; fitted blue glass liner. Circa 1773. 4 43 44) 45 46 AT 48 49 50 51 52 53 54 SMALL ENGLISH GEORGIAN SILVER SUGAR BASKET Openwork design; blue glass liner. By Charles Chesterman, London, circa 1773. SET OF FOUR ENGLISH SILVER SALTCELLARS Boat shape. By Abraham Peterson, London. (4) Weight about 9 ounces. ENGLISH GEORGIAN SILVER SNUFFER TRAY Oblong shape; chased with a scroll design. By Duncan Urquhart and Naphtali Hart, London, circa 1802. Weight about 414 ounces. SET OF FOUR ENGLISH GEORGE III SILVER SALTCELLARS Openwork design and floral chasings on four ball and claw feet; blue glass liners. (4) SMALL ENGLISH GEORGIAN SILVER COFFEE POT AND COVER By Charles Wright, London, circa 1769. Weight about 1514 ounces. ENGLISH GEORGIAN SILVER COFFEE POT Finely chased in a leaf and scroll pattern. By William Tyte, London, circa 1767. Weight about 32 ounces. ENGLISH GEORGIAN SILVER INKSTAND Fitted with three silver-mounted glass bottles; on four claw feet. By William Plumner, London, circa 1761. ENGLISH GEORGIAN SILVER CRUET Fitted with two glass casters. Cruet and caster covers of openwork de- sign. By William Barry. Izish, circa 1734. ENGLISH GEORGIAN SILVER STAND Fitted with two glass decanters and stoppers, hobnail cut. By Joseph Bell, London, circa 1756. ENGLISH GEORGIAN SILVER SUGAR BASKET Basketwork design; fitted with blue glass liner. Circa 1778. ENGLISH GEORGIAN SILVER SUGAR BASKET Openwork wire pattern, intertwined leaves and flowers; blue glass liner. By Walter Tweedie, London, circa 1773. ENGLISH GEORGIAN SILVER BOAT-SHAPED SUGAR BASKET Maker unknown. Circa 1773. 5D 56 OT 58 59 60 61 62 63 64 65 ENGLISH GEORGIAN SILVER SNUFFER TRAY Boat shape, with moulded edge. By Charles Candler, London, circa 1785. Weight about 414 ounces. ENGLISH GEORGIAN SILVER SNUFFER TRAY Boat shape, with scroll handles. By Robert Hennel, London, circa 1790. Weight about 314 ounces. SET OF SIX ENGLISH GEORGIAN SILVER SALTCELLARS Openwork design and chased garlands of flowers. Blue glass liners. By Henry Chawner and John Emes, London, circa 1796. (6) TWO ENGLISH SILVER CANDLESTICKS Square shape, floral bases. By William Bennett, London, circa 1800. (2) Weight about 43 ounces. ENGLISH GEORGIAN SILVER HOT WATER JUG Urn shape; classical design of flowers; similarly shaped base. By Henry Cowper, London, circa 1788. Weight about 22 ownces. ENGLISH GEORGIAN SILVER OIL AND VINEGAR CRUET Boat shape; fitted with two silver-mounted bottles. By John Scofield, London, circa 1778. Weight about 17 ounces. ENGLISH GEORGIAN SILVER TEA CANISTER AND COVER Chased floral design borders. By John Deacon, London, circa 1776. Weight about 21 ounces. ENGLISH GEORGIAN SILVER STAND Fitted with two glass decanters and stoppers, hobnail cut. By Joseph Bell, London, circa 1756. TWO ENGLISH GEORGIAN SILVER COASTERS Openwork design with rosettes. By R. & S. Henell, London, circa 1806. (2) ENGLISH GEORGIAN SILVER SUGAR BASKET Openwork wire pattern intertwined by floral garlands; blue glass liner. By Hester Boteman, London, circa 1789. ENGLISH GEORGIAN SILVER BOAT-SHAPED SUGAR BASKET Openwork design; chased garlands. By Alice and George Burroughs, London, circa 1812. 66 67 68 69 70 fa: 72 73 74 795 76 ENGLISH GEORGIAN SILVER SNUFFER TRAY Boat shape, with moulded edge. By Edward Copper, London, circa 1768-9. Weight about 41% ounces. ENGLISH GEORGIAN SILVER SNUFFER TRAY Oblong shape; scroll and floral chasmg. By Andrew Fogelberg, London, circa 1776. Weight about 5 ounces. SET OF FOUR ENGLISH GEORGIAN SILVER SALTCELLARS Openwork floral design on four ball and claw feet. Blue glass liners. By R. & D. Hewell, London, circa 1768. (4) TWO ENGLISH SILVER TWO-HANDLED TUREENS AND COVERS Boat shape, with beaded edges and covers. London, circa 1823. (2) Weight about 39 ounces. ENGLISH GEORGIAN SILVER COFFEE POT AND COVER Oviform shape with festoons of flowers around body; scroll handle. Lon- don, circa 1759. Weight about 27 ounces. TWO ENGLISH GEORGIAN SILVER CANDLESTICKS By Edward Copper, London, circa 1768. (2) Weight about 39 ounces. EARLY NINETEENTH CENTURY FRENCH SILVER-GILT GAMECOCK TWO GEORGIAN SILVER CANDLESTICKS Circa 1766. Maker untraced. Mentioned on page 196, Jackson, “English Goldsmiths and Their Marks.” (2) | Weight about 42 ounces. TWO GEORGIAN SILVER TWO-HANDLED SAUCE TUREENS AND COVERS Oval shape; mask-head handles; covers with floral borders. By Daniel Smith and Robert Sharp, circa 1780. (2) Weight about 62 ounces. TWO GEORGIAN SILVER CANDLESTICKS Fluted columnar supports on square beaded bases. By John Winter & Co. Sheffield Silversmith’s mark. Circa 1775. (2) TWO GEORGIAN SILVER CANDLESTICKS Rams’ heads; urn and leaf decoration in relief. By Fenton Cheswick & Co. Sheffield Silversmith’s mark. Circa 1813. (2) Z yer 78 79 80 81 82 83 84 GEORGIAN SILVER EPERGNE Oval centre piece holding six arms, fitted with original Waterford cut glass dishes. By Matthew Boulton. Birmingham Silversmith’s mark. Circa 18038. Weight about 142 ownces. TWO GEORGIAN SILVER TWO-HANDLED SAUCE TUREENS AND COVERS Oval shape; standing on four cabriole claw legs; scroll chased borders. By William Hall. London Goldsmith’s mark. Circa 1800. (2) Weight about 61 ounces. TWO GEORGIAN SILVER TWO-HANDLED SAUCE TUREENS AND COVERS Oval shape; mask-head handles; covers with floral borders. By Daniel Smith and Robert Sharp, circa 1780. (2) Weight about 60 ounces. TWO GEORGIAN SILVER CANDLESTICKS Circa 1766. Maker untraced. Mentioned on page 196, Jackson, “Eng- lish Goldsmiths and Their Marks.” (2) — Weight about 42 ownces. TWO GEORGIAN SILVER CANDLESTICKS Rams’ heads; urn and leaf decoration in relief. By Fenton Cheswick & Co. Sheffield Silversmith’s mark. Circa 1813. (2) GEORGIAN SILVER HOT WATER JUG By John Scofield. London Goldsmith’s mark. Circa 1787. Weight about 27 ounces. GEORGIAN SILVER TWO-HANDLED SOUP TUREEN AND COVER On ball and claw feet ; cover surmounted by figure of an owl. By H. N., circa 1789. TWO GEORGIAN SILVER TWO-HANDLED SAUCE TUREENS AND COVERS Oval shape; standing on four cabriole claw legs; scroll chased borders. By William Hall. London Goldsmith’s mark. Circa 1800. (2) Weight about 61 ounces. 85 THE ABERCORN GEORGIAN SILVER PLATEAU In three parts. ‘The centre piece bears the Arms of the Duke of Aber- corn. In the centre of each end piece is a large spray of flowers repre- senting the Rose, the Thistle and the Leek. A wide chased border sur- rounds the entire plateau. In the corners are coronets. The sides and ends with roses, thistles, leeks and shamrocks, the emblems of England, Scotland, Wales and Ireland. A rail surrounding the entire plateau is formed by thistle leaves. On twelve beautifully carved scroll and shell feet. The plateau was formerly the property of the Duke of Abercorn. By Benjamin Smith. London Goldsmith’s mark. Circa 1814. Weight about 1307 ounces. [SEE ILLUSTRATION | 86 GEORGIAN SILVER VEGETABLE DISH AND COVER By J. & J. Aldous. London Goldsmith’s mark. Circa 1821. Weight about 48 ounces. | 87 GEORGIAN TWO-HANDLED GOBLET By William Shaw. London Goldsmith’s mark. Circa 1762. With the inscription: “The gift of two friends. 1827.” Weight about 19 ownces. 88 89 90 OL [91 | [97 | [90] [97 | [91] THE COLLECTION OF MINTON PORCELAIN FLOWER VASES NuMBERS 88-98 ENGLISH SOLON MINTON PORCELAIN PLAQUE Circular shape with a milk-white pate sur pate decoration of spider’s web, flying amorini and flowers on an olive-green ground. ENGLISH SOLON MINTON PORCELAIN VASE Bottle shape. Decorated on each side with a milk-white pate sur pate design of vases, flowers and fruit on an olive-green ground. Surmounted by two gilt scroll handles. [SEE ILLUSTRATION | ENGLISH SOLON MINTON PORCELAIN TWO-HANDLED VASE Oviform shape. The body is encircled with a band designed in panels of milk-white pate sur pate decoration of amorini and flowers on a pink ground, and the decoration of the upper part is of a floral and diaper pattern, in pinks, greens, browns and grays. Fluted olive-green body. Height, 19 inches. [SEE ILLUSTRATION | TWO ENGLISH SOLON MINTON PORCELAIN VASES On each side are oval medallions of a milk-white pate sur pate decoration representing draped female figures, flowers and amorini on a coral to- mato ground and surrounded by a similar decoration of scrolls and flowers. The bodies are of olive-green and decorated with gold stars. Gilt mask-head handles. (2) Height, 17 inches. [SEE ILLUSTRATION | 10 Ot | 94 | [92] |9 [92] [94] 92 93 94 [96] [89] [96] TWO ENGLISH MINTON PORCELAIN VASES AND COVERS With milk-white pate sur pAte decoration of flying amorini, trees and flowers on an olive-green ground. Initials A.B. (A. Burke, painter.) (2) [SEE ILLUSTRATION | ENGLISH SOLON MINTON PORCELAIN VASE Milk-white pate sur pate decoration of birds and trees; the upper part has a leaf design in relief and the whole is on an olive-green ground. Two masked ring handles. This vase was decorated by Pilsbury and exhibited in the Paris Universal Exhibition, 1878. TWO SOLON MINTON PORCELAIN VASES Decorated with a milk-white pate sur pte design of leaves, flowers and butterflies. The rims are surrounded by borders of leaves and flowers on a light blue ground. Gilt ring handles. (2) [SEE ILLUSTRATION | 11 95 96 air [97a | ENGLISH SOLON MINTON PORCELAIN VASE AND COVER Decorated in panels of milk-white pate sur pate representing sleeping amorini, scrolls, and figure-head medallions on a blue ground. Gilt scroll ring handles. Height, 154% wches. [SEE ILLUSTRATION, PAGE 11 | TWO ENGLISH MINTON PORCELAIN VASES BY L. SOLON Signed. The fronts decorated with nude female figure holding sunburst. Each side has oblong panels with a blue and gold scroll design, above which are two ring handles. Necks of vases decorated in a buff floral and leaf design on a white ground. (2) [SEE ILLUSTRATION, PAGE 11 | TWO ENGLISH MINTON PORCELAIN VASES BY L. SOLON Bulbous shaped bodies, the fronts decorated with a panel represent- ing playing amorini in a milk-white relief at the top, which is a frieze in coral color with rosetted decoration; supported by buff and gilt Corin- thian columns; below is a small floral medallion, on each side of which are two small coral and gold panels surrounding a garland of leaves. Top has a wide gold band and two scroll mask-head handles. (2) Height, 16 inches. [SEE ILLUSTRATION, PAGE 10] 12 974 TWO IMPORTANT ENGLISH SOLON MINTON PORCELAIN 98 99 100 101 102 VASES Bulbous-shaped body, the front decorated with draped dancing female classical figures; above are winged amorini; gilt scroll handles. On square ormolu base with inset panels in a scroll design. (2) [SEE ILLUSTRATION | VERY IMPORTANT DOUBLE-HANDLED MINTON PORCELAIN FLOWER URN BY SOLON Broad bulbous body invested with a relief decoration of white glazed jasper depicting, on one side, the Nine Muses surrounding, in a semi- circle, three winged amorini who touch their bare feet with their bows. The reverse with a flock of nine flying Genii, preceded and pursued by similar flocks and surrounded by flying swallows. The ground is of a lustrous mirror-black. The two sides are enriched with two scroll handles above two Medusa Heads. The bottom is painted with a Greek running border in gold and two tone blue-green. The base and the neck are cov- ered with a relief decoration in the classical taste in multicolored enamels heightened with gold. [SEE ILLUSTRATION | THE COLLECTION OF OLD ENGLISH SHEFFIELD PLATE, ETC. NUMBERS 99-148 TWO OLD ENGLISH SHEFFIELD THREE-LIGHT CAN- DELABRA Columnar supports holding two scroll arms; on circular bases in a cal design. (2) TWO OLD ENGLISH SHEFFIELD CANDLESTICKS Square columns on bases designed with an Adam two-handled urn; gar- lands and rams’ heads. (2) OLD ENGLISH SHEFFIELD CENTREPIECE . Supported by four scroll legs terminating in claw feet; top rim deco- rated in a bead and scroll design; holding original Waterford glass dish cut in hobnail pattern. OLD ENGLISH SHEFFIELD TUREEN AND COVER Oval shape, gadrooned edge, on four leaf-carved and scroll feet. Similar handles on each end and on cover. 13 103 104 105 106 107 108 109 110 111 112 113 TWO SMALL OLD ENGLISH SHEFFIELD PLATEAU COVERS Oval shape with shell and scroll borders. Leaf-carved and scroll handles. (2) TWO OLD ENGLISH SHEFFIELD CANDLESTICKS Square columns on bases designed with an Adam two-handled urn; gar- lands and rams’ heads. (2) OLD ENGLISH SHEFFIELD CRUET Square base, gadrooned edge. In centre scroll and leaf carved handle; fitted with eight old Waterford cut glass bottles, two with silver mounts. LARGE OLD ENGLISH SHEFFIELD PLATEAU COVER Oval shape with shell and scroll border. Leaf-carved and scroll handle. OLD ENGLISH SHEFFIELD FOUR-LIGHT CANDELABRA Columnar support with leaf carving on circular base decorated in similar manner, holding three scroll arms with flower-carved bobéches and candle holders. Centre bobéche and candle holder similar to others. Torch finial. TWO OLD ENGLISH SHEFFIELD WINE COOLERS Urn shape; the lower part with flutings, on circular bases; scroll and leaf-carved handles; fitted liners. (2) OLD ENGLISH SHEFFIELD CAKE BOWL Circular shape with heavy leaf and shell carved edge, ribbon handle, with leaf-carved panel in centre. ; LARGE OLD ENGLISH SHEFFIELD PLATEAU COVER Oval shape, with shell and scroll border. Leaf-carved and scroll handle. OLD ENGLISH SHEFFIELD TUREEN AND COVER Oval shape, flower and scroll carved edge, supported by legs with shell knees, on claw feet. Scroll and leaf-carved handle at each end; similar handle on cover. LARGE OLD ENGLISH SHEFFIELD FIVE-LIGHT CAN- DELABRA Tapered columnar support on circular base with gadrooned edge hold- ing four scroll-shaped arms with gadrooned edges, bobéches and candle holders. Urn-shaped candle holder in centre with pineapple finial. TWO OLD ENGLISH SHEFFIELD WINE COOLERS Barrel shape; encircled by fluted hooks; shell handles, fitted liners. (2) 14 114 115 116 gM bys 118 119 120 121 122 123 124 OLD ENGLISH SHEFFIELD THREE-LIGHT CANDELABRA Three draped figures on triangular base supporting six scroll-shaped arms with leaf-carved bobéches and candle holders. In the centre is a circular trelliswork and leaf-carved basket. SET OF FOUR OLD ENGLISH SHEFFIELD COASTERS Circular shape with shell and flower carved edges ; turned wood bases. (4) SET OF TWO OLD ENGLISH SHEFFIELD COASTERS Scalloped edges; sides with ornamentation of fretted leaves. Turned wood bases. (2) TWO OLD ENGLISH SHEFFIELD PLATEAU COVERS Oval shape with shell and scroll borders. Leaf-carved and _ scroll handle. (2) TWO OLD ENGLISH SHEFFIELD CANDLESTICKS Square columns on bases designed with an Adam two-handled urn; gar- lands and rams’ heads. (2) TWO OLD ENGLISH SHEFFIELD CANDLESTICKS Square columns on bases designed with an Adam two-handled urn; gar- lands and rams’ heads. (2) SET OF TWO OLD ENGLISH SHEFFIELD COASTERS Circular shape with shell and flower carved edges ; turned wood bases. (2) SET OF FOUR OLD ENGLISH SHEFFIELD COASTERS Circular shape with shell and gadroon edges; turned wood bases. (4) OLD ENGLISH SHEFFIELD THREE-LIGHT CANDELABRA Three draped figures on triangular base support three scroll-shaped arms with leaf-carved bobéches and candle holders. In the centre is a circular trelliswork and leaf-carved basket. TWO OLD ENGLISH SHEFFIELD WINE COOLERS Urn shape, with leaf and scroll carved edge; fluted underpart; base with leaf and scroll carved edge. Scroll shaped handles; fitted liners. (2) LARGE OLD ENGLISH SHEFFIELD FIVE-LIGHT CAN- DELABRA | Tapered columnar support on circular base with gadrooned edge, hold- ing four scroll arms with gadrooned edges, bobéches and candle holders, centre bobéche and candle holder to match. 15 125 126 127 128 129 130 131 132 133 134 135 136 SET OF FOUR OLD ENGLISH SHEFFIELD COASTERS Circular shape with shell and gadroon edges. ‘Turned wood bases. (4) SET OF FOUR OLD ENGLISH SHEFFIELD COASTERS Circular shape with shell and flower carved edges ; turned wood bases. (4) OLD ENGLISH SHEFFIELD CENTRE PIECE Three draped figures on triangular base supporting trelliswork and leaf- carved basket. TWO OLD ENGLISH SHEFFIELD PLATE WINE COOLERS Square shape; fitted liners; fluted bases and grapevine handles. (2) OLD ENGLISH SHEFFIELD PLATE CRUET Openwork design on three ball and claw feet, and fitted with four orig- inal Bristol glass bottles. TWO OLD ENGLISH SHEFFIELD PLATE ENTREE DISHES AND COVERS Oblong shape. (2) TWO OLD ENGLISH SHEFFIELD PLATE ENTREE DISHES AND COVERS Oblong shape; floral edges and handles. (2) TWO OLD ENGLISH SHEFFIELD PLATE ENTREE DISHES AND COVERS Oblong shape. (2) OLD ENGLISH SHEFFIELD PLATE TWO-HANDLED SOUP TUREEN AND COVER Boat shape; gadrooned edges; scroll and leaf handles. OLD ENGLISH SHEFFIELD PLATE EGG STAND Fitted with six cups and five spoons. TWO OLD ENGLISH SHEFFIELD PLATE TWO-HANDLED TUREENS AND COVERS Boat-shape; beaded bases and top rims. (2) TWO EIGHTEENTH CENTURY ENGLISH SHEFFIELD TWO- HANDLED FLOWER VASES Gadrooned edges. Mask handles. (2) 16 137 138 139 140 141 142 143 144 145 146 147 OLD ENGLISH SHEFFIELD TWO-HANDLED SOUP TUREEN AND COVER Oblong shape; gadrooned edge; leaf handles. TWO OLD ENGLISH SHEFFIELD PLATE’ ENTREE DISHES AND COVERS Oblong shape. (2) TWO OLD ENGLISH SHEFFIELD PLATE SAUCE BOATS Helmet shape; scroll and leaf handles. (2) TWO OLD ENGLISH SHEFFIELD PLATE ENTREE DISHES AND COVERS Oblong shape. (2) OLD ENGLISH SHEFFIELD PLATE TWO-HANDLED CAKE BOWL Border and handles of floral design; on four claw feet. TWO OLD ENGLISH SHEFFIELD PLATE THREE-LIGHT CANDELABRA Fluted stand with floral borders in relief. (2) OLD ENGLISH SHEFFIELD PLATE EPERGNE Tray-shaped base, supporting five openwork baskets fitted with five blue glass liners. TWO OLD ENGLISH SHEFFIELD PLATE ENTREE DISHES AND COVERS Oblong shape; floral edges and handles. (2) TWO OLD ENGLISH SHEFFIELD PLATE SAUCE BOATS Helmet shape; scroll and leaf handles. (2) OLD ENGLISH SHEFFIELD PLATE TRAY Scroll chasing and floral borders; standing on four ball and claw feet. OLD ENGLISH SHEFFIELD PLATE TRAY Circular shape with gadrooned edge; feet with scroll and floral design. 147, TWO SMALLER, SIMILAR TO THE PRECEDING © (2) 17 1478 147¢c 147D 147 148 TWO SMALLER, SIMILAR TO THE PRECEDING (2) EARLY SIXTEENTH CENTURY GERMAN IVORY TANKARD ' AND COVER Carved in a design of winged figures, rams’ heads, eagles, and figure- heads in scroll panels and carved all over in a floral and scroll design. Chased silver stand supporting ivory stem carved similarly to the tankard. Silver cover surmounted by small Bacchanalian seated figure. Height, 19 inches. EARLY SIXTEENTH CENTURY GERMAN IVORY TANKARD Heavily carved tankard representing warrior on prancing horse; draped male and female figures; Bacchus; winged cupids and beasts of prey. Massive scroll carved mask-head handle. The silver cover and stand are chased in a floral and fruit design. The cover surmounted by a carved ivory Bacchanalian figure. Height, 19 inches. EARLY SIXTEENTH CENTURY GERMAN IVORY TANKARD Heavily carved, depicting “The Birth of Christ.” Silver-gilt stand and cover chased in a flower and scroll design, cover surmounted by silver figure of the infant Christ. Massive silver-gilt figure-head handle. Height, 12 inches. OLD ENGLISH SHEFFIELD PLATE TABLE Top chased in a floral and leaf design with scroll edge and corners; apron, sides and reverse decorated similarly. The dies are furnished with rams’ heads holding rings. Standing on tapering legs encircled by chased festoons of flowers and connected by shaped crossed stretchers on the centre of which is an urn. 18 SALE MONDAY AFTERNOON, JANUARY TWENTY-NIN TH, AT 2:30 149 152 153 154 155 156 SECOND SESSION NUMBERS 149-303 OLD ENGLISH FURNITURE AND PAINTED ROOMS 17TH, 18TH AND EARLY 19TH CENTURIES SET OF EIGHT OLD ENGLISH PURPLE GLASS FINGER BOWLS (8) EIGHTEENTH CENTURY ENGLISH SATINWOOD WRITING BOX Sheraton period. Fold-over style; interior fitted with adjustable writing pad, pull-out drawer at side fitted with stationery compartments ; orig- inal brass handles. TWO VERA EGLOMISE PAINTINGS One representing a horse attacked by lion; the other, with lion in the background. Circular, fluted marble frames. (2) CARVED OAK CUPBOARD Moulded and leaf-carved top; front enclosed by two small doors carved in a scroll design; on carved columnar supports holding carved under- shelf. EIGHTEENTH CENTURY ENGLISH MAHOGANY WIG STAND Chippendale period. Carved circular top with shaped undershelf fitted with one drawer; upheld by three scroll-shaped supports standing on carved cabriole legs. EFIGHTEENTH CENTURY ENGLISH MAHOGANY TRAY Chippendale period. Formed by an oblong panel with fretwork gallery. EIGHTEENTH CENTURY ENGLISH NEST OF TABLES Sheraton period. On turned spindle columns supported by shaped feet. EIGHTEENTH CENTURY ENGLISH SMALL TRIPOD TABLE Chippendale period. Cireular top on turned fluted column, supported by three shaped legs carved at the knees. 19 157 158 159 160 161 163 164 165 166 EIGHTEENTH CENTURY ENGLISH MAHOGANY LAMP STAND. Chippendale period. Fluted triangular shape, columnar support, on three scroll legs. OLD COLONIAL MAHOGANY WORK TABLE Octagonal lift-up top, on square tapered legs. SMALL SEVENTEENTH CENTURY ENGLISH OAK MARRIAGE CHEST Moulded cover. Carved front. EARLY NINETEENTH CENTURY ENGLISH MAHOGANY BAN- NER SCREEN Oval red damask banner on pole, supported by tripod spindle base. EIGHTEENTH CENTURY ENGLISH MAHOGANY WING CHAIR Chippendale period. Square shaped legs and stretcher carved in a fret- work design. Upholstered and covered with a cotton embroidery of a Paisley design. SET OF OLD ENGLISH GREEN IVORY HANDLED STEEL KNIVES AND FORKS Consisting of eleven knives and eleven three pecaeal forks. (22) EIGHTEENTH CENTURY ENGLISH OCCASIONAL TABLE Fitted with one drawer; fretwork panel; on four cabriole legs carved at the knees and terminating in deer-shaped feet. EIGHTEENTH CENTURY ENGLISH MAHOGANY HALF-CIR- CULAR CONSOLE TABLE Sheraton period. ‘Top inlaid in a shell design. Dies inlaid in a similar manner. On four carved and fluted legs. EIGHTEENTH CENTURY ENGLISH NEST OF TABLES Sheraton period. On turned spindle columns, supported by shaped feet. EIGHTEENTH CENTURY ENGLISH CARV 7 MAHOGANY ARMCHAIR Chippendale period. Carved, shaped arm supports; square legs carved in Gothic design. Seat, arms and back upholstered and covered with old English gros point in a floral design. 20 167 168 169 170 ia: 172 173 174 175 176 EIGHTEENTH CENTURY ENGLISH ROLL-TOP DESK Sheraton period. Interior fitted with small drawers and compartments ; two long drawers below. On square tapered legs. EIGHTEENTH CENTURY ENGLISH SMALL TRIPOD TABLE Chippendale period. Circular top with inlaid band of satinwood, on turned and fluted column, supported by three shaped legs carved at the knees. EIGHTEENTH CENTURY ENGLISH MAHOGANY CHEST OF DRAWERS Chippendale period. Top and edge carved in a floral design. Fitted with four drawers; base carved in a Gothic design. Original brass handles. EIGHTEENTH CENTURY ENGLISH MAHOGANY HAT STAND Chippendale period. Turned centre pole supporting twelve arms, on four plain scroll feet. TWO EIGHTEENTH CENTURY ENGLISH BANNER SCREENS Adam period. Banners painted with children in brilliant colors. Gilt tripod stands carved in acanthus leaves; scroll feet. (2) EARLY NINETEENTH CENTURY ENGLISH MAHOGANY GAMING AND WORK TABLE Lift-up top forming chess and backgammon board; fitted with one drawer with various compartments. Red silk basket below; on tapered column standing on four ball feet. EIGHTEENTH CENTURY ENGLISH PAINTED BOOK RACK Adam period. Three shelves supported by shaped sides; one drawer below, fitted with slide, painted with floral festoons, and one door with an oval panel painted with amorini. EIGHTEENTH CENTURY ENGLISH MAHOGANY CONSOLE TABLE Sheraton period. Plain mahogany top with inlaid bands of satinwood; plain front and sides; rosetted dies ; on square fluted tapering legs. EIGHTEENTH CENTURY ENGLISH WALNUT MIRROR Queen Anne period. Oblong upright mirror plate; shaped moulded frame. OLD FRENCH CARVED AND GILT WOOD SETTEE Shaped back with rounded ends; scroll fluted arm supports; front with floral carving; on shaped legs. Upholstered and covered. 21 177 178 179 180 181 182 183 184 EIGHTEENTH CENTURY ENGLISH MAHOGANY OCCA- SIONAL TABLE Chippendale period. Oblong tray top, fretwork panels on four sides; supported by four square tapered legs carved in a Gothic design; fret- work spandrels. SET OF FOUR MAHOGANY SIDE CHAIRS AND ONE ARM- CHAIR Hepplewhite period. Oval backs. Shaped front, rosetted dies. On square fluted tapering legs. Curved arms on fluted arm supports. Seats and backs upholstered and covered. (5) EIGHTEENTH CENTURY ENGLISH MAHOGANY DROP-LEAF TABLE Chippendale period. Carved around edge with acanthus leaves. EIGHTEENTH CENTURY ENGLISH MAHOGANY CORNER CABINET Sheraton period. Enclosed by glass door of a Gothic design. Corner has wide band of satinwood inlaid; nautilus shell in oval medallion and carved in a geometrical design. On stand with square-shaped tapering legs. EIGHTEENTH CENTURY ENGLISH MAHOGANY CHEST Chippendale period. Plain top with edge carved in a leaf design; fitted with four drawers; original brass drop handles; on four shaped feet, carved in fretwork design. EIGHTEENTH CENTURY ENGLISH MAHOGANY GAMING. TABLE Chippendale period. Folding top with carved edge, supported by cab- riole legs; scroll carving at knees. EIGHTEENTH CENTURY ENGLISH MAHOGANY ARTIST’S TABLE Chippendale period. Plain mahogany lyre top with carved leaf edge, forming a drawing table. Pull-out front fitted with writing slide and containing various compartments and a small drawer; supported by two legs carved in a Gothic design with fretwork panel, with edge carved in a similar manner ; original brass handles. The whole on four square legs. EIGHTEENTH CENTURY ENGLISH MAHOGANY CORNER CHAIR Chippendale period. Round back, supported by turned columns and two shaped splats. On square legs. Loose cushion seat. 22 185 186 187 188 189 190 191 192 EIGHTEENTH CENTURY ENGLISH WALNUT OCCASIONAL TABLE Queen Anne period. Figured oyster-wood top, fitted with one drawer. On four spiral twisted legs connected by understretcher ; ball feet. TWO EIGHTEENTH CENTURY ENGLISH MAHOGANY TER- RESTRIAL AND CELESTIAL WORLD GLOBES Chippendale period. Fluted columnar support on three scroll-shaped legs, carved in a ribbon and floral design, with stretcher holding com- pass. By J. & W. Cary, Strand, London. Dated 1800. (2) EIGHTEENTH CENTURY ENGLISH MAHOGANY TRIPOD TABLE Chippendale period. Supported by column on tripod base. TWO EIGHTEENTH CENTURY ENGLISH MAHOGANY TORCHERES Shaped tops; turned and tapered columnar supports on three scroll- shaped feet. (2) SET OF SIX EARLY NINETEENTH CENTURY ENGLISH SIDE CHAIRS Turned top and side rails, on turned legs connected by similar stretchers. Covered with floral needlework. (6) EIGHTEENTH CENTURY ENGLISH SATINWOOD BOOKCASE Sheraton period. In two portions: the lower as a cupboard enclosed by a panelled door with an oval medallion inlaid in kmgwood; the top part in the form of a cabinet fitted with shelves enclosed by glazed panelled door. Surmounted by arched and moulded cornice. EIGHTEENTH CENTURY ENGLISH CARVED MAHOGANY COMMODE Adam period. Shaped top with leaf-carved edge; fitted with two glass panelled doors enclosing cabinet ; dies framed by ram’s head holding fes- toons in which are carved rosettes; panelled sides on shaped base; leaf and scroll carved edge. EIGHTEENTH CENTURY ENGLISH MAHOGANY WING CHAIR Chippendale period. On square legs carved in Gothic designs. Seat and back upholstered and covered in crewel work. 23 193 194 195 196 197 198 199 200 EIGHTEENTH CENTURY ENGLISH MAHOGANY CONSOLE TABLE . Chippendale period. Rectangular top with moulded edge. Apron with shell carving in centre surrounded by leaf and scroll carving. On cab- riole legs with shell carving at the knees, and terminating in scroll feet. The top has inset gray marble top. EIGHTEENTH CENTURY ENGLISH CARVED MAHOGANY HALL CLOCK Chippendale period. Case in the shape of a Gothic arch. EIGHTEENTH CENTURY CARVED WOOD AND GILT MIRROR Chippendale period. Oblong mirror plate; mahogany frame, with gilt leaf and scroll carving in relief. TWO EIGHTEENTH CENTURY ENGLISH GILT WOOD POLE SCREENS Adam period. Gilt pole supported by urn-shaped column; standing on three fluted curved legs. Oval panel representing a bouquet of flowers worked in various colored silks on a cream satin ground. (2) EIGHTEENTH CENTURY ENGLISH MAHOGANY DINING TABLE In two parts, each part resting on three shaped legs. SET OF SIX EIGHTEENTH CENTURY ENGLISH MAHOGANY SIDE CHAIRS Adam period. Back formed by shaped top rail with fluted and rosetted carving, on curved supports; fluted horizontal splats; turned tapering legs. (6) OLD ENGLISH SATINWOOD CORNER CUPBOARD Enclosed by four panelled doors painted with baskets of flowers, garlands and musical trophies; surmounted by painted scroll cornice. EIGHTEENTH CENTURY ENGLISH SATINWOOD COMMODE Adam period. Shaped top painted with a design of floral festoons and surrounded by a deep border of flowers, on a green ground; fitted with one long and two small shaped drawers, with floral festoons; one large and two small cupboards below, enclosed by panelled doors, with painted festoons and floral bouquets. On four turned feet. 24 202 208 207 208 EIGHTEENTH CENTURY ENGLISH CARVED WOOD AND GILT MIRROR Queen Anne period. Oblong mirror plate; shaped frame; scroll and leaf carving below. Surmounted by shell pediment, with eagles’ heads at each side. EIGHTEENTH CENTURY ENGLISH THREE-FOLD PAINTED LEATHER SCREEN Each fold decorated with a painted panel representing a drinking scene, in the style of Teniers. EIGHTEENTH CENTURY ENGLISH MAHOGANY 'THREE- BACK SETTEE Chippendale period. Square backs with leaf carving on top, carved fluted centres. Shaped arms terminating in scrolls; shaped arm sup- ports. Front and legs carved in fretwork design; stretcher supports. EIGHTEENTH CENTURY ENGLISH MAHOGANY CELLAR- ETTE Georgian period. Circular shape with wide carved leaf border; the front carved with rosettes and draperies; on carved circular base. EIGHTEENTH CENTURY ENGLISH MAHOGANY SIDE TABLE Chippendale period. Plain top with moulded edge; apron and sides carved in a fretwork design; rosetted dies; supported by four triangular shaped legs carved in a similar manner and connected by spandrels of a fretwork design. TWO ADAM CRYSTAL FIVE-LIGHT WALL APPLIQUES Centre stem supporting inverted bobéche, from which hang draped pendants. Centre bowl supports five curved arms holding star bobéches and glass candleholders. Back formed by shield-shaped mirror sur- rounded by blue glass. (2) SMALL CRYSTAL CHANDELIER Draped from the top, forming bowl at the bottom. SET OF THREE EIGHTEENTH CENTURY ENGLISH PAINTED SIDE CHAIRS Adam period. Shield-shaped backs with leaf decoration; square tapered legs with shaped understretcher decorated in a similar manner. Seats upholstered and covered with green material. (3) 25 209 211 215 EIGHTEENTH CENTURY ENGLISH MAHOGANY LIBRARY TABLE Sheraton period. Circular top covered with original leather ; fitted with four drawers and dummy drawers; turned columnar support, on four shaped fluted legs terminating in brass claw feet. EIGHTEENTH CENTURY ENGLISH CARVED MAHOGANY CORNER CHAIR Hepplewhite period. Half circular leaf-carved back, supported by three turned columns and fluted splats; fluted aprons; rosetted dies; square tapered legs connected by understretchers. EIGHTEENTH CENTURY ENGLISH MAHOGANY ARMCHAIR Chippendale period. Shaped arm supports carved in a Gothic design. Square legs carved in a similar manner. Seat, back and arms uphol- stered and covered in green silk. TWO NINETEENTH CENTURY ENGLISH TERRESTRIAL AND CELESTIAL WORLD GLOBES On carved mahogany tripod stands connected by understretchers hold- ing compass. By Newton & Sons, London. Dated 1850. (2) EIGHTEENTH CENTURY ENGLISH MAHOGANY TALLBOY ON STAND Chippendale period. Top part composed of two small and three large drawers, original brass drop handles, surmounted by carved cornice. On stand carved in a Gothic design, with legs carved in a similar manner. EIGHTEENTH CENTURY ENGLISH MAHOGANY LAMP STAND Georgian period. Shaped top; turned support on three scroll legs. EIGHTEENTH CENTURY ENGLISH MAHOGANY FIRE SCREEN Adam period. Square frame, holding satin panel worked in leaves and flowers in silks of various colors; surmounted by an urn holding festoons of leaves. TWO EIGHTEENTH CENTURY SATINWOOD CONSOLE TABLES Adam period. Tops inlaid with broad band of mahogany; apron and sides inlaid with ebony in a geometrical design; shaped legs supporting a shelf on ram’s-head feet. (2) 217 220 221 222 223 224 EIGHTEENTH CENTURY ENGLISH WALNUT WING CHAIR Queen Anne period. Cabriole legs, carved at the knees and terminating in ball and claw feet. Upholstered and covered in light green silk. EIGHTEENTH CENTURY ENGLISH SMALL TRIPOD TABLE Chippendale period. Shaped tray top on turned and fluted column, supported by three shaped fluted legs. EARLY COLONIAL MAHOGANY CARD TABLE Folding top; inlaid bands of satinwood; fluted columnar support, on four inlaid scroll feet supporting understretcher. EIGHTEENTH CENTURY ENGLISH MAHOGANY BAROM- ETER Sheraton period. Banjo shape, with barometer dial below, inscribed by the maker, Hancock, Nottongham. Above is a clock, the case inlaid with bands of satinwood and surmounted by brass urn finial. TWO SEVENTEENTH CENTURY ENGLISH SIDE CHAIRS Stuart period. Backs formed by turned spindle rails with urn-shaped finials. The splats and top rails carved A jour in scrolls, rosettes and shells. Slender front supports, on bell and baluster shaped legs. Shaped and moulded underframing with urn in centre. (2) EARLY COLONIAL MAHOGANY CARD TABLE Folding top ; inlaid bands of satinwood; fluted columnar support, on four inlaid scroll feet supporting understretcher. SET OF FIVE PAINTED QUEEN ANNE WAINSCOT PAPER PANELS In the Chinese style, covered with an all-over pattern of crysanthemums and low flowered bushes in soft-colored distempers of rouge d’or and green, with brilliant pheasants, tropical birds, parrots and butterflies, on a cream-colored ground. (5) Size of panels, 10 feet 6 inches x 8 feet. 10 feet 6 inches x 7 feet V inches. 10 feet 6 inches x 10 feet 10 inches. 10 feet 6 inches x 10 feet. 10 feet 6 inches x 10 feet 4 inches. EIGHTEENTH CENTURY ENGLISH MAHOGANY THREE- FOLD SCREEN Hepplewhite period. Oblong frame; corners with carved scroll design, holding oval panel with beaded edge; carved legs. 27 225 226 play av 228 bo bo © 230 EIGHTEENTH CENTURY ENGLISH LACQUER CABINET ON STAND Queen Anne period. The upper part composed of two large and seven smaller drawers decorated with a design of small houses surrounded by trees, flowers and birds in gold on a black ground. The stand deco- rated with gold bands and supported by cabriole legs with a similar decoration. (From the Collection of the Earl of Carnarvon, Bretby Hall.) EIGHTEENTH CENTURY ENGLISH DINING TABLE Chippendale period. Plain top with moulded edge carved in a leaf and scroll pattern; centre part with drop leaves at either end; supported by four square tapered legs; shaped ends supported by legs of a similar nature. EIGHTEENTH CENTURY ENGLISH MAHOGANY FLOWER STAND ~ | Georgian period. Octagonal top with leaf-carved edge. Sides with carved wreaths of flowers. Original mask-head drop handles. On four square tapered legs. TWO EIGHTEENTH CENTURY ENGLISH WALNUT STOOLS Queen Anne period. Oblong shape with rounded ends; supported by four cabriole legs carved at the knees, standing on club feet and con- nected by turned understretcher ; slip seat upholstered and covered in a flowered brocatelle. (2) EIGHTEENTH CENTURY ENGLISH MAHOGANY SETTEE Chippendale period. Shaped arms carved in a leaf and scroll design; on four square-shaped, carved and fluted legs connected by understretcher. Overstuffed back, upholstered and covered in a red floral damask. EARLY NINETEENTH CENTURY ENGLISH PAINTED DAY BED Scroll ends decorated with a circular panel representing Chinese fig- ures in gold on a black ground; on four curved legs. Upholstered and covered in red silk; loose cushion seat. 28 [231] 231 TWO EIGHTEENTH CENTURY CARVED WOOD AND GILT CONSOLE TABLES Georgian period. Shaped carved tops supported by carved eagle on a formation of rocks; oblong bases; original Sienna marble top. (2) (From the Collection of the Lady Carlisle, Palace Gardens, London, England.) [SEE ILLUSTRATION | 232 TWO EIGHTEENTH CENTURY ENGLISH MAHOGANY PED- ESTALS Georgian period. Plain tops with moulded leaf-carved edges; below is a cupboard with bottle stands and one drawer, fitted with liners ; enclosed by a panelled door with flower carvings in corners and, in the centre, a leaf and floral wreath. (2) 748) 235 236 237 238 239 EIGHTEENTH CENTURY ENGLISH SATINWOOD SIDEBOARD Sheraton period. Upper part formed by two shelves supported by turned spindles; top inlaid with band of mahogany; lower part fitted with one large and two small drawers, with original brass knobs; one large and two small cupboards below, enclosed by panelled doors. On turned legs. EIGHTEENTH CENTURY ENGLISH CARVED AND PAINTED WOOD MANTELPIECE Adam period. Painted red mantelpiece composed of pilasters in the form of fluted columns, with capital enrichments of carved classical figures ; the frieze bears the key panel representing three classical figures with scroll and leaf carving on either side; moulded top with leaf carving. OLD ENGLISH ADAM OVERMANTEL Top part in the form of a painting of cupids in the style of Boucher; one large and two small mirror plates below. The whole encircled by a gilt moulded frame. EIGHTEENTH CENTURY ENGLISH MAHOGANY CENTRE TABLE Chippendale period. Plain mahogany top with floral carved edge; apron and ends carved in the centre with floral medallions connected by scroll carving; supported by four triangular shaped legs carved in a Gothic design and connected by spandrels carved in a similar manner. EIGHTEENTH CENTURY ENGLISH PLATE AND KNIFE STAND Chippendale period. Spindle gallery; on four turned legs connected by turned understretcher. (From the Collection of the Lord Chesham, Chesham, Bucks., England.) EIGHTEENTH CENTURY ENGLISH PAINTED FOUR-TIER WHATNOT Sheraton period. Each tier decorated in a floral and leaf design and supported by spindle columns on similar feet. EIGHTEENTH CENTURY ENGLISH MAHOGANY URN Sheraton period. Body of a latticework design on base with striped inlay of mahogany and satinwood; on three shaped legs forming tripod ; original brass handle and rim. 30 240 242 243 244 245 247 EIGHTEENTH CENTURY ENGLISH MAHOGANY CELLAR- ETTE Chippendale period. Sides carved; fitted with one small and one large drawer; on four block feet; brass handles at sides. EIGHTEENTH CENTURY ENGLISH MAHOGANY ARTIST'S TABLE Sheraton period. Fitted with one drawer and writing slide; supported by carved tripod stand. EIGHTEENTH CENTURY ENGLISH MAHOGANY WIG STAND Chippendale period. Carved circular top; beneath, a small compartment enclosing two small drawers; surmounted by bowl and cover. On tripod stand connected by three carved legs. EIGHTEENTH CENTURY ENGLISH MAHOGANY TIP-TOP TABLE Chippendale period. Circular top, with carved leaf and shell border ; turned column, supported by three curved legs carved at knees. EIGHTEENTH CENTURY ENGLISH SATINWOOD HALF-CIR- CULAR CONSOLE TABLE Adam period. Top inlaid with wide band of harewood. Apron divided, forming two cupboards enclosed by shutters inlaid with bands of hare- wood and an oval medallion of an urn in the centre. On three square tapered legs. TWO EIGHTEENTH CENTURY ENGLISH PAINTED SATIN- WOOD ARMCHAIRS Adam period. Shaped top rail, with panel painted with flowers; centre panel painted in a similar manner; shaped arms supported by turned rests; front and sides painted with flowers; turned legs similarly painted. (2) EIGHTEENTH CENTURY ENGLISH LADY’S MAHOGANY OC- CASIONAL TABLE Sheraton period. Oblong top, inlaid with bands of satinwood; front and sides inlaid in a leaf pattern, surrounded by bands of satinwood. On lyre-shaped support connected by shaped understretcher. Standing on four brass claw-shaped feet. SET OF SIX OLD ENGLISH CHIPPENDALE CHAIRS Square backs with carved lyre-shaped centre. On square legs. (6) dl 249 250 253 254 EIGHTEENTH CENTURY ENGLISH MAHOGANY KNEEHOLE DESK Chippendale period. Plain mahogany top, edge with carved acanthus leaves ; pedestal panel supports; fitted with ten drawers, and standing on eight carved feet. EIGHTEENTH CENTURY ENGLISH SATINWOOD COMMODE Sheraton period. Half moon shape; top inlaid in the centre with an oval medallion of a classical figure held in reserve by wreaths, festoons and scrolls. Wide border inlaid with flowers and leaves with nautilus shell in the centre. One large door below, inlaid with a female figure under a canopy and surrounded by festoons of leaves and flowers. Side panels inlaid with urns holding flowers, encircled by wreaths and leaves. EIGHTEENTH CENTURY FRENCH MAHOGANY LADY’S DRESSING TABLE Lift-up top fitted with mirror, three drawers and one dummy drawer; ormolu escutcheon plates; on turned and tapered legs. EIGHTEENTH CENTURY ENGLISH. SATINWOOD SECRE- TAIRE BOOKCASE Sheraton period. Upper part formed as a cabinet enclosed by two glass doors and surmounted by an arched cornice; lower part fitted as a secrétaire, with small drawers and compartments, below which are three long drawers with original brass ring handles. TWO EARLY NINETEENTH, CENTURY ENGLISH POLE SCREENS Poles painted with a geometrical design and standing on ball, which rests on circular base decorated in a leaf and flower design on a cream- colored ground. Panels in white and gold frame are composed of birds and flowers worked in brilliantly colored wools on a cream ground. (2) EIGHTEENTH CENTURY ENGLISH MAHOGANY CONSOLE TABLE Chippendale period. Oblong top with carved edge; carved moulding under apron; dies with fleur de lys; circular fluted tapering legs. EIGHTEENTH CENTURY CHINESE EIGHT-FOLD PAINTED PAPER SCREEN The entire screen forms a continuous composition of the Imperial Flying Dragon with snake bodies in brilliant colors on a blue ground, covered with a pattern of conventionalized clouds in rainbow hues; beneath ap- pears a running guilloche border of jade-green and white. 32 255 258 260 261 262 263 264 EIGHTEENTH CENTURY ENGLISH MAHOGANY TRIPOD TABLE Chippendale period. Circular top with moulded edge; on turned col- umn supported by cabriole legs carved at the knees. Duck feet. EIGHTEENTH CENTURY ENGLISH CARVED WOOD AND GILT MIRROR Queen Anne period. Oblong mirror plate surrounded by a leaf and scroll carved frame. EIGHTEENTH CENTURY ENGLISH MAHOGANY CENTRE TABLE Chippendale period. Tray top; aprons and sides carved in a fretwork design ; on four square-shaped legs carved in a similar manner, connected by stretchers; fretwork spandrels. TWO EIGHTEENTH CENTURY MAHOGANY KNIFE BOXES Sheraton period. Fitted interiors. (2) EIGHTEENTH CENTURY ENGLISH NEST OF TABLES Sheraton period. Turned spindle columns supported by shaped feet. EIGHTEENTH CENTURY ENGLISH LADY’S MAHOGANY WRITING DESK Sheraton period. Folding top inlaid with bands of satinwood; fitted with four drawers, brass ring handles; below are two larger drawers, with satinwood inlay in a geometrical design; on four square-shaped tapering legs inlaid in a similar manner. EIGHTEENTH CENTURY ENGLISH SOFA TABLE Adam period. Oblong top with half round fall-down ends painted in the centre with a floral wreath, surrounded by a wide floral border ; on lyre- shaped support; carved legs terminating in carved feet. EIGHTEENTH CENTURY ENGLISH NEST OF TABLES Sheraton period. On turned spindle columns supported by shaped feet. SET OF SIX OLD ENGLISH RUSH-SEATED CHAIRS Spindle and turned backs. On turned legs connected by understretchers. (6) EIGHTEENTH CENTURY ENGLISH MAHOGANY CARD TABLE Chippendale period. Shaped fold-over top with carved edge; on four triangular shaped legs. 33 266 267 269 270 EIGHTEENTH CENTURY ENGLISH PAINTED SATINWOOD WINDOW SEAT Adam period. Scroll ends supporting fretwork panels with painted clas- sical figures and flowers; on square-shaped tapering legs; seat uphol- stered and covered. EIGHTEENTH CENTURY ENGLISH CARVED MAHOGANY TUB CHAIR Chippendale period. On cabriole legs carved at the knees and terminat- ing in ball and claw feet. Upholstered and covered in red silk. EIGHTEENTH CENTURY ENGLISH MAHOGANY WRITING TABLE Chippendale period. Original leather top; edge carved in a floral and scroll design. Fitted with two large drawers with original brass handles; supported by four triangular-shaped legs; carved fretwork design, con- nected scroll spandrels. WATTEAU ROOM French painted wainscot room composed of five upright panels and one overdoor. The uprights are each designed with bold rocaille scrolls of black and rouge d’or in the Chinese style, containing at the top car- touches of vividly colored macaws and cockatoos. In the centre are Wat- teau subjects of male and female figures in engaging Louis Quinze cos- tumes of brilliant orange, blue, and coral, with a background of trees, rocks, and architecture, against a blue-green ground alive with animation. Size of one panel, 9 feet 3 inches x 2 feet 6 inches. Size of four panels, 9 feet 3 inches x 8 feet 1 inch each. Size of overdoor, 2 feet 4 inches x 8 feet 6 inches. [SEE ILLUSTRATION | EIGHTEENTH CENTURY ENGLISH MAHOGANY BOOKCASE Sheraton period. Upper part as a cabinet in three sections enclosed by glass doors and surmounted by a cornice inlaid with festoons and urns. Base fitted with one large and two small drawers, below which are cup- boards enclosed by panelled doors. Inlaid side panels. On moulded base. EIGHTEENTH CENTURY ENGLISH WALNUT OCCASIONAL TABLE Queen Anne period. Oblong top fitted with one drawer; on four turned columns connected by square understretcher and supported by ball feet. 34 THE WATTEAU ROOM [268] 273 274 275 276 277 279 280 EIGHTEENTH CENTURY ENGLISH MAHOGANY BIRDCAGE Sheraton period. Dome shape; supported by fluted columns; base in- laid with satinwood in the form of nautilus shells. EIGHTEENTH CENTURY ENGLISH CARVED AND PAINTED WOOD GARDEN SEAT Georgian period. Shaped back carved with a design of an urn and surrounded by festoons and scrolls; scroll-shaped arms supported by lions; seat with carved shell edge; on scroll legs carved in a leaf design. EIGHTEENTH CENTURY ENGLISH GARDEN TABLE Georgian period. Circular top supported by curved legs, the tops of which are in the form of eagles with outspread wings, and hold shaped undershelf. On ball and claw feet. Green marble top. TWO SEVENTEENTH CENTURY ENGLISH OAK HALL CHAIRS High back formed by shaped top rail and fluted splats; turned stretchers and legs. (2) SET OF FOUR EARLY ENGLISH OAK HALL CHAIRS Square shaped turned spindle backs. On four turned legs connected by stretchers. Plain moulded wooden seats. (4) SEVENTEENTH CENTURY WELSH OAK DRESSER Upper part formed by three moulded shelves, moulded top; fitted with small drawers below; square tapered legs. EIGHTEENTH CENTURY ENGLISH OAK GATELEG TABLE Two flaps supported by four turned legs connected by plain stretcher. EIGHTEENTH CENTURY ENGLISH MAHOGANY TWO-TIER WAITER Chippendale period. Triangular-shaped top and base, carved at the sides ; on three carved cabriole legs. EIGHTEENTH CENTURY ENGLISH MAHOGANY CARD TABLE Sheraton period. Lift-up top, inlaid bands of satinwood; apron and sides inlaid in a similar manner. Carved and fluted diamond-shaped dies. On four turned tapering legs. EIGHTEENTH CENTURY ENGLISH NEST OF TABLES Of the Sheraton period. Turned spindle columns supported by shaped feet. 36 4 is 4 : 4 i i 4 i THE WILLIAM KENT BOOKCASE [281] 281 AN EIGHTEENTH CENTURY ENGLISH CARVED AND GILT WOOD BOOKCASE BY WILLIAM KENT The upper part composed of a cabinet enclosed by a glass panelled door, the frame of which is moulded and carved in a leaf design; above and at the sides are festoons of flowers, leaves and fruit held by bow knots. The cabinet frame is carved at the edges with a design of leaves and 37 282 283 284 286 288 beadwork ; surmounted, in the centre and at either end, by square pedi- ments, the edges of which are carved similarly to those of the cabinet. The lower part is also in the form of a cabinet, with moulded edges, en- closed by two panelled doors, above and at the sides of which are intri- cate carvings representing flowers, fruit and leaves. On moulded base. The framework of the entire creation is painted black; the carvings, finely executed in relief, are gilded. [SEE ILLUSTRATION | EIGHTEENTH CENTURY ENGLISH CARVED MAHOGANY ARMCHAIR Chippendale period. Arm supports carved in Gothic design; square legs carved in a similar manner. Seat and back upholstered and covered in green silk. EIGHTEENTH CENTURY ENGLISH HALF-CIRCULAR CON- SOLE TABLE Sheraton period. Inlaid with bands of satinwood; on four turned and tapered legs. EIGHTEENTH CENTURY ENGLISH MAHOGANY CHEST OF DRAWERS Chippendale period. ‘Top edge carved in acenthus leaves. Fitted with three drawers, with original brass handles. TWO EIGHTEENTH CENTURY ENGLISH MINIATURE DRESSING SCREENS OF THE SHERATON PERIOD On columnar supports resting on a shaped footstool covered with bead needlework of a later period, and fitted with a protruding shaped shelf which is surmounted by a three-fold glazed screen; original pear-drop handles. (2) EIGHTEENTH CENTURY ENGLISH MAHOGANY DAY BED Chippendale period. Leaf-carved scroll-shaped ends. Supported by square legs carved in a scroll design. Cane seat with loose cushion. EIGHTEENTH CENTURY ENGLISH SATINWOOD CUPBOARD Sheraton period. Top inlaid with bands of ebony ; fitted with two pan- elled doors. KIGHTEENTH CENTURY ENGLISH MAHOGANY LAMP STAND Chippendale period. Square top on turned and fluted tapering column ; supported by three scroll-shaped legs. 38 290 291 294 295 296 EIGHTEENTH CENTURY ENGLISH MAHOGANY LADY’S WORK TABLE Top fitted with compartment enclosed by slide; on each side are two smaller compartments with lift-up tops; surrounded by brass gallery and supported by lyre-shaped supports; terminating in ormolu-mounted scroll feet. EIGHTEENTH CENTURY ENGLISH BANNER SCREEN Chippendale period. Petit point needlework banner. On turned and carved mahogany tripod stand; claw feet. EIGHTEENTH CENTURY ENGLISH MAHOGANY LAMP STAND Shaped top; turned and tapering columnar support on three carved legs terminating in claw feet. EIGHTEENTH CENTURY ENGLISH SATINWOOD CARD - TABLE Sheraton period. Semi-circular shape; lift-up top to form round table; centre painted in a shell design; border painted with leaves and flowers ; apron inlaid with harewood; supported by four square shaped tapering legs painted in a manner similar to that of the top. EIGHTEENTH CENTURY ENGLISH MAHOGANY FIRE SCREEN Sheraton period. Two square fluted columns hold a blue silk damask panel; brass scroll arms support shelf; fluted understretcher on curved fluted legs. EIGHTEENTH CENTURY ENGLISH MAHOGANY CARD TABLE . Chippendale period. Edge carved in a scroll and leaf design. Four cabriole legs, with club feet. EIGHTEENTH CENTURY ENGLISH LADY’S MAHOGANY WORK TABLE \ Sheraton period. Kidney-shaped lift-up top, with fitted interior; top has oval mirror plate in mother-of-pearl frame; pull-out bag; on scroll and turned supports connected by ormolu-mounted claw feet. EARLY NINETEENTH CENTURY ENGLISH TOLE WARE TRAY Centre formed by large panel of flowers surrounded by floral border. 39 20F 298 300 301 302 303 COLLECTION OF OLD ENGLISH GREEN IVORY HANDLED CUTLERY Set of 5 small knives and forks; 5 large knives and forks; 4 forks; carv- ing fork; cheese scoop; fish slice. (27 pleces ) EIGHTEENTH CENTURY ENGLISH LACQUER TABLE WRIT- ING DESK * Drop front, fitted with five drawers, with one large drawer below. The whole decorated in a raised gold lacquer design of figures, pagodas, boats and trees. SET OF NINE OLD BOHEMIAN BLUE AND PURPLE CUT GLASS TUMBLERS Fluted and diamond cut pattern. (9) SET OF TWELVE OLD ENGLISH BLUE GLASS FINGER BOWLS (12) EARLY ENGLISH STRAW-WORK GROUP Representing a bouquet of flowers in a basket, enclosed in a shields ones painted and gilt frame. SEVENTEENTH CENTURY ENGLISH OAK BIBLE BOX ON STAND Moulded lift-up top. Apron and sides carved in a leaf design. Stand composed of turned legs connected by similar stretchers. EIGHTEENTH CENTURY ENGLISH MAHOGANY COAL URN AND COVER Sheraton period. Body and cover Ae a latticework design. Cover sur- mounted by pineapple finial and brass band; tripod stand. ona brass liner and handle. 40 SALE TUESDAY AFTERNOON, JANUARY THIRTIETH, AT 2:30 304 305 306 308 309 THIRD SESSION NUMBERS 304-470 THE COLLECTION OF DECORATED AND MARQUETERIE COFFERS NUMBERS 304-321 TWO EIGHTEENTH CENTURY ENGLISH BOXES One, satinwood painted with flowers; silver handle. The other, hare- wood with gilt decorations. (2) EIGHTEENTH CENTURY ENGLISH SATINWOOD OCTAG- ONAL BOX Top decorated with a large floral bouquet and surrounded by gilt and floral border. SEVENTEENTH CENTURY ENGLISH OAK BIBLE BOX ON STAND Carved sides and front with the initials R. K.; dated 1673. Fitted with one drawer. ‘Turned legs, connected by understretchers. SEVENTEENTH CENTURY ENGLISH OAK BIBLE BOX Lift-up top. Front carved in a floral and scroll design, with the initials R. K. EIGHTEENTH CENTURY FRENCH MINIATURE SECRE- TAIRE | Louis Seize period. Ormolu mounted. Interior fitted with two small drawers and writing compartment; drop front, with two large drawers below; on four shaped legs. EIGHTEENTH CENTURY ENGLISH LADY’S SATINWOOD WORK BOX Adam period. Toop decorated with a panel representing female figures, on a sea-green ground, surrounded by leaf border. Interior of cover fitted with mirror plate and box with one drawer. 41 310 311 old 316 317 318 319 TWO EIGHTEENTH CENTURY ENGLISH BOXES One, satinwood, painted with flowers; the other, satinwood, painted and inlaid with an oval shell design. (2) TWO EIGHTEENTH CENTURY ENGLISH BOXES One, satinwood, with oval medallion painting on cover. ‘The other, painted wood with transfer decoration. (2) EIGHTEENTH CENTURY ENGLISH BOX Adam period. Top painted with an oval panel, draped female figures ; fitted with one drawer. TWO EIGHTEENTH CENTURY ENGLISH WORK BOXES. One, of the Sheraton period, decorated with views. The other, Adam period, with top painted with oval medallion and floral borders. (2) EIGHTEENTH CENTURY ENGLISH WRITING AND WORK CABINET Adam period. The top is painted with hexagonal panel of draped and winged cupid. One drawer fitted with various compartments. EIGHTEENTH CENTURY ENGLISH BOX Adam period ; the top painted with figure of a young woman playing with a young girl; sides with painted wreaths of flowers and scroll. EIGHTEENTH CENTURY ENGLISH WORK BOX Sheraton period; top and sides inlaid with bands of satinwood; fitted with one drawer and ringed mask-head handles. TWO VERY INTERESTING OLD ENGLISH WORK BOXES One with top and sides painted with flowers; the other with views of Brighton. (2) TWO EIGHTEENTH CENTURY ENGLISH TEA CADDIES AND AN EIGHTEENTH CENTURY ENGLISH SATINWOOD BOX A. Sheraton period; borders inlaid with bands of kingwood. B. Top and sides painted with flowers and festoons. C. Box of the Sheraton period; front inlaid with vase, cover with butterfly. (3) TWO EIGHTEENTH CENTURY ENGLISH WRITING BOXES One, of the Sheraton period, in satinwood; the other Adam period, with top decorated with oval panel. (2) 42 320 ied) bo — 324 325 326 EIGHTEENTH CENTURY ENGLISH SATINWOOD LADY’S WORK BOX Sheraton period; borders inlaid with bands of kingwood; lions’ heads in the form of handles; standing on four ball and claw feet; fitted with one drawer. The interior fitted with small compartments and original - bobbins. OLD ENGLISH MAHOGANY CHURCHWARDEN®Y’ PIPE STAND Rack inlaid with brass and mother-of-pearl; front and sides inset with panels of beadwork. THE COLLECTION OF NEEDLEWORK AND EMBROIDERY PICTURES, ETC. NUMBERS 322-348 TWO EIGHTEENTH CENTURY ENGLISH SILKWORK PIC- TURES One, representing flowers on a cream colored ground. ‘The other rep- resenting flowers on a black ground. Gilt frames. (2) RARE SEVENTEENTH CENTURY ENGLISH STUART STUMP AND EMBROIDERED LADY’S WORK BOX The exterior fitted with two doors, hinged lid and covered on all sides with a variety of scenes embroidered in crewels and silks with heraldic beasts, their eyes formed of fine pearls. The figures dressed in silver thread and silk embroidered robes, with features drawn in India ink. Original silver handles. The doors are lined and the interior is fitted with a number of small drawers. Top and inside drawers covered with a contemporary embossed Chinese rice paper. TWO EIGHTEENTH CENTURY ENGLISH NEEDLEWORK PIC- TURES Floral design on a black ground; carved and gilt oval frames. (2) TWO EIGHTEENTH CENTURY ENGLISH SILKWORK PIC- TURES One, representing a female figure holding flowers. The other, a female figure holding a dog. Signed Werter. Dated 1794. In carved wood and gilt frames. (2) EIGHTEENTH CENTURY ENGLISH BEADWORK GROUP Representing finely executed flowers in a two-handled wool urn. Gilt frame. 43 ee) nD ~t 328 329 330 331 332 333 334 335 336 TWO EIGHTEENTH CENTURY ENGLISH NEEDLEWORK PIC- TURES One, oval shape, representing parrot and flowers in brilliant colors. The other, floral sprays and butterflies, on a black ground. Gilt frames. (2) EIGHTEENTH CENTURY ENGLISH NEEDLEWORK PICTURE The Village Shoemaker, The Huntsman, The Traveller. In gilt frame. TWO EIGHTEENTH CENTURY ENGLISH GLASS TRANSFER PICTURES Oval shape. (2) EIGHTEENTH CENTURY ENGLISH WATER-COLOR Representing a bouquet of flowers; inscribed “R. Little, age 18 years.” Dated 1794. In gilt frame. TWO EIGHTEENTH CENTURY ENGLISH NEEDLEWORK PIC- TURES | One, oblong shape, representing flowers in brilliant colors. The other, oval shape, representing flowers and butterflies. In gilt frames. (2) EARLY NINETEENTH CENTURY ENGLISH BIRCH BARK PIC- TURE Representing the entrance to St. Vincent’s. Composed of a tower and houses with trees and small figures. Signed Daromont and dated 1819. In original carved and gilt frame. TWO EIGHTEENTH CENTURY ENGLISH SILKWORK PIC- TURES Representing female figures; one as Justice, the other Vanity. (2) THREE EARLY NINETEENTH CENTURY ENGLISH FEATHER PICTURES Representing exotic birds. In gilt frames. (3) TWO EARLY NINETEENTH CENTURY ENGLISH NEEDLE- WORK PICTURES Representing baskets of fruit and flowers. (2) TWO OLD ENGLISH PANELS One a sampler, Sarah Noubles, York, 1804; the other representing fruit and birds on a café-au-lait ground. (2) 44 337 338 340 341 342 343 344 345 EARLY NINETEENTH CENTURY ENGLISH NEEDLEWORK PICTURE Representing ducks. In gilt frame. EARLY NINETEENTH CENTURY ENGLISH SILKWORK PIC- TURE Representing a female figure seated in the shade of a tree. Gilt frame. EARLY NINETEENTH CENTURY ENGLISH FEATHER PIC- TURE Representing two parroquets perched on tree. In gilt frame. TWO OLD ENGLISH SILKWORK PICTURES One worked with a design of a lady; the other a bouquet of flowers. In original oval gilt frames. (2) TWO ENGLISH NEEDLEWORK PICTURES One in the shape of a shield with oval panel; girl with sheaf of wheat on her head and a sickle in her hand; black frame. ‘The other an oval panel, parroquet on tree, in gilt frame. (2) TWO OLD ENGLISH SILKWORK PICTURES AND A FRAME CONTAINING FRAGMENTS OF OLD LACE (3) TWO EIGHTEENTH CENTURY ENGLISH NEEDLEWORK PIC- TURES One, oval, in the design of a basket of flowers. The other, oblong shape, with design of a parroquet on a chocolate-colored background. (2) TWO EARLY ENGLISH COLORED PRINTS BY ROBERT SAYER, LONDON King George III of Great Britain and Queen Charlotte. Surrounded by gilt metal scrollwork and enclosed in gilt wood frames. (2) EARLY NINETEENTH CENTURY ENGLISH SILKWORK PIC- TURE Representing a bouquet of flowers. In gilt frame. EARLY NINETEENTH CENTURY ENGLISH SILKWORK PIC- TURE Representing a parroquet perched on a tree. Black frame. 45 B47 348 349 350 351 352 353 354 TWO EARLY NINETEENTH CENTURY ENGLISH SILKWORK PICTURES Representing two birls perched on trees. In gilt frames. (2) EARLY AMERICAN IVORY PLAQUE Representing the Signing of the Treaty of American Independence; dated 1776. In black frame. ENGLISH AND CONTINENTAL PORCELAIN AND POTTERY NUMBERS 349-364 TWO EIGHTEENTH CENTURY ENGLISH ASPREY FLOWER POTS Band in centre, with sprays of flowers in relief. (2) LATE EIGHTEENTH CENTURY ENGLISH DERBY DESSERT SERVICE Floral and leaf decoration executed in brilliant colors of salmon, blue and gold on a white glaze. Comprising 24 plates; 8 shaped dishes; 2 tureens, covers and stands. (84 pieces) TWO EARLY NINETEENTH CENTURY ENGLISH DAVEN- PORT TERRA COTTA TWO-HANDLED JARDINIERES Raised decoration representing a hunting scene. Base designed in a basketwork weave. (2) EIGHTEENTH CENTURY ENGLISH WORCESTER CROCUS POT AND COVER Decorated with panels of flowers on an apple-green ground. Openwork cover. . TWO EARLY NINETEENTH CENTURY ENGLISH WORCES- TER VASES | Transfer decoration representing dogs and game; scalloped tops with a gold decoration; gilt ram’s head handles. (2) EARLY NINETEENTH CENTURY ENGLISH ROCKINGHAM DESSERT SERVICE Centre panels painted in flowers. Border decorated in a royal blue and gold on a cream-colored ground. Comprising 12 plates, 4 dishes, 1 com- port. (17 pieces) 46 057 358 359 360 361 TWO EIGHTEENTH CENTURY ENGLISH WORCESTER TWO- HANDLED FLOWER POTS AND STANDS Decorated on each side with panels of views and classical subjects on a purple and gold ground. Each supported by three scroll feet. Reptile- head handles. (2) SET OF THREE EIGHTEENTH CENTURY VENETIAN POR- CELAIN AMPHORAD AND COVERS Ram’s head handles decorated with garlands of flowers and in a leaf design. Openwork covers, surmounted by gilt finials. (3) EIGHTEENTH CENTURY WORCESTER CROCUS POT AND COVER The front decorated with a panel representing classical figures on a black ground. On each side a bouquet of flowers and fluted columns. Base and rim decorated with gold trelliswork on a rose du Barry ground. LARGE EIGHTEENTH CENTURY ENGLISH SPODE CROCUS POT Front decorated with a chariot scene with flying amorini and coral- tomato scrolls. Each corner is supported by four winged female figures. TWO EIGHTEENTH CENTURY ENGLISH LEEDS WARE WALL POCKETS In the shape of Cornucopie decorated with urns, scrolls and flowers in relief. (2) OLD FRENCH PORCELAIN DINNER SERVICE Border decorated with a leaf and floral pattern, and oval medallions of sprays and flowers surrounded by gilt festoons; small sprays of flowers in the centre. Consisting of 55 dinner plates, 18 soup plates, 4 vege- table dishes and covers, 15 meat platters, 1 salad bowl, 1 tureen, with cover and stand. (94 pieces) OLD ENGLISH WORCESTER TEA AND COFFEE SERVICE Of the Doctor Wall period. Decorated in the Queen Charlotte pattern. Comprising: 1 teapot, cover and stand; 1 sugar bowl, cover and stand; 1 tea caddy and cover; 1 slop bowl and cover; 2 large bowls; 2 small bowls ;1 openwork two-handled basket ; 6 shaped bread and butter plates ; 7 large saucer-shaped plates; 12 small, shaped bread and butter plates; 24 teacups (one slightly damaged); 18 coffee cups; 7 large saucers; 24 smaller saucers (1 slightly cracked). (107 pieces) 47 362 TWO LATE EIGHTEENTH CENTURY ENGLISH COLEBROOK- DALE VASES Square shape; decorated in the front with a bouquet of raised flowers ; handles with raised flowers; top surrounded by leaves and flowers in relief. On gilt metal bases. (2) 363. TWO EARLY NINETEENTH CENTURY ENGLISH RIDGWAY VASES AND COVERS Hexagonal shape; decorated with birds, flowers and classical figures in relief on a buff-colored ground. (2) Height, 2514 inches. 364 EARLY NINETEENTH CENTURY ENGLISH WEDGWOOD DIN- NER SERVICE Blue wreath and flower decoration on a chintz pattern ground. Gilt mask-head handles. Consisting of: 8 large meat platters, graduated sizes ; 1 large soup tureen, cover, and stand; 1 salad bowl; 4 sauce boats, covers and stands (2 covers repaired); 82 dinner plates; 14 soup plates; 8 bread and butter plates. (68 pieces) THE COLLECTION OF EXCEPTIONALLY RARE ORIENTAL LOWESTOFT URNS VASES, DINNER AND TEA SERVICES NUMBERS 365-422 LOWESTOFT AMPHORAD MUST NOW BE CONSIDERED THE RAREST OF CHINESE PORCELAINS Tue appeal of Lowestoft is not merely that of all genuine old ceramics, but on its graceful classical forms and on its decoration of European flowers and ornaments cling the tales of Colonial life and the ventures of the East India Company. The rediscovery of Pompeii, the style of Louis Seize, the renaissance of Greek and Roman ornaments so fervently launched by Robert Adam, are reflected in Lowestoft porcelains by the adaption of the fine models favored by the silver- smiths of the second half of the eighteenth century. Beakers and bottles were replaced by covered urns, vasques and two-handled amphore, which forms lent themselves admirably to enrichment with floral or armorial reserves. As chimney ornaments or as balancing complements to the console or replacing the cistern or hot water urn on the sideboard, they are without equal. Their great scarcity is due to the short life of the Classicist Revival. The process of submitting a new model to the Chinese potters through the India traders, the leisurely execution and the long perilous return, must have placed these products of good taste in interiors at home, which by that time had undergone the pompous Neo-Egyptian transformation of the Empire. 48 365 366 267 368 369 370 EIGHTEENTH CENTURY ORIENTAL LOWESTOFT DINNER SERVICE Covered with medallions of Chinese garden scenes and flowers on a trel- lised orchid ground. Consisting of: 11 graduated dishes; 2 large dishes ; 8 dinner plates ; 5 soup plates; 6 bread and butter plates; 3 large cups and saucers; 4 small deep dishes; 3 shaped dishes; 1 tureen, cover and stand; 1 tureen and stand; 3 sauce boats; 14 assorted pieces (dam- aged). (61 pieces) TWO EIGHTEENTH CENTURY ORIENTAL LOWESTOFT VASES Bottle shape; decorated with a crest on either side in blue and gold, with initials F. G. T., and floral sprays above. The necks are sur- rounded by blue borders with gilt star decorations. (2) TWO EIGHTEENTH CENTURY ORIENTAL LOWESTOFT MUGS Fronts decorated with large floral bouquets surrounded by sprays and butterflies ; gilt geometrical borders on coral-tomato grounds. (2) TWO EIGHTEENTH CENTURY ORIENTAL LOWESTOFT SWEETMEAT DISHES Shell shape; decorated with raised shell designs in relief; painted with floral sprays. (2) EIGHTEENTH CENTURY ORIENTAL LOWESTOFT BOX AND COVER Silver-mounted rim and cover; painted with flowers and armorial bearings. TWO EIGHTEENTH CENTURY ORIENTAL LOWESTOFT VASES AND COVERS Bodies decorated with large and small panels representing baskets and sprays of flowers painted in coral-tomato and gold. Covers decorated with four panels representing views and painted in coral-tomato, and surmounted by Dog Foo. (2) 49 371 372 373 374 375 376 VERY UNCOMMON EIGHTEENTH CENTURY ORIENTAL LOWESTOFT DINNER SERVICE Decorated with a blue and gold trellis border and a wheel pattern medallion of similar colors. The tureens have gilt handles and the covers are surmounted by gilt pineapple finials. The sauce boats are of a very uncommon Nautilus Shell shape, with blue and gilt rope handles; on shell-shaped stands. Comprising: 3 large deep platters; 16 smaller platters of assorted sizes ; 12 soup plates; 33 small dinner plates; 15 dinner plates; 6 large dinner plates; 7 small salad dishes; 6 large salad dishes; 1 salad bowl; 2 strainers; 3 saltcellars; 2 sauce boats and 1 stand; 1 pitcher; 1 large tureen, cover and stand; 2 small tureens, covers and stands; 2 savory dishes, covers and stands; 2 meat dishes and strainers. (114 pieces) The rarity of this service lies in the simplicity of the decoration. TWO EIGHTEENTH CENTURY ORIENTAL LOWESTOFT CRO- CUS POTS AND COVERS Square shape; decorated on two sides with Adam vases and garlands of flowers, surrounded by mice, flowers and green leaves carved in re- lief; gilt rope handles. The covers are encircled by a gold border and painted floral sprays. (2) | Height, 8 inches. TWO EIGHTEENTH CENTURY ORIENTAL LOWESTOFT BAS- KETS The one small and oval, the other large and circular. Openwork design with a raised decoration of flowers; border painted with gold beads on sepia ground. Crest bears initials G.D. Gilt handles. (2) SEVEN ORIENTAL LOWESTOFT PLATTERS Gilt beadwork border; shield in the centre surrounded by floral wreath suspended by a bow-knot with the initials G. D. in gold. Graduated sizes. (77) TWENTY ORIENTAL LOWESTOFT DINNER PLATES Gilt beadwork border; shield in the centre surrounded by floral wreath suspended by bow-knot with initials G. D. in gold. (20) EIGHTEENTH CENTURY ORIENTAL LOWESTOFT MANTEL GARNITURE Consisting of two beaker-shaped vases and one oviform vase, decorated with panels of flower vases and sprays of flowers surrounded by blue borders. (8) 50 377 378 379 380 381 383 EIGHTEENTH CENTURY ORIENTAL LOWESTOFT TWO- HANDLED VASE Oviform shape, decorated with garlands of fleurs de lys painted blue and gold in relief. In the centre are oval panels representing Britain. Square base simulating marble. Guilt and blue scroll handles. Cover with coral- tomato border, gilt pineapple finial. EIGHTEENTH CENTURY LOWESTOFT SALAD SERVICE Gilt scroll and floral decoration in blues, reds, greens and yellows on a metallic glaze. (11 pieces) TWO ORIENTAL BLUE AND WHITE VASES Oviform shape. On each side and at the bases are panels with a raised decoration of birds and foliage in white. The bodies have decorations of butterflies and leaves on a white ground. Blue and white diaper borders at necks. (2) ORIENTAL LOWESTOFT CUSTARD CUP AND COVER, SALT- CELLAR, SMALL DISH AND A SMALL PIERCED DISH Openwork design with raised decorations of flowers ; borders painted with gold beads on a sepia ground. Crest bearing initials G. D. (4 pieces) FOUR MEAT AND TWO CIRCULAR ORIENTAL LOWESTOFT DISHES Gilt beadwork borders; shield in the centre surrounded by a floral wreath suspended by a bow-knot with the initials G. D. in gold. (6 pieces) EIGHTEEN SMALL ORIENTAL LOWESTOFT DINNER PLATES Gilt beadwork border; shield in the centre surrounded by floral wreath suspended by a bow-knot with initials G. D. in gold. (18) LARGE EIGHTEENTH CENTURY ORIENTAL LOWESTOFT BOWL The exterior decorated with a border of scrollwork and small diaper medallions on a chocolate-colored ground; below are four chocolate ground medallions decorated with Adam urns in sepia and white. The interior is decorated with bouquets of flowers with a green leaf decoration. 51 385 386 387 388 390 LARGE EIGHTEENTH CENTURY ORIENTAL FAMILLE-ROSE BOWL Decorated on the inside with gold leaf and flower pattern, the outside beautifully decorated with Chinese mandarin figures on horseback, a gar- den scene with female figures surrounded by flowers and trees, also a bal- cony scene representing a mandarin surrounded by his courtiers. Base decorated with a geometrical pattern of blue on a peach ground. FIVE EIGHTEENTH CENTURY ORIENTAL LOWESTOFT PLATES Hexagonal shape; decorated bouquets of flowers on a white ground. (5) EIGHTEENTH CENTURY ORIENTAL LOWESTOFT TEA SER- VICE Border decorated with scrolls and rosettes in panels on a chocolate ground; draped urn in the centre. Comprising: 1 teapot, cover and stand; 1 tea caddy and cover ;-1 cream jug and stand; 1 bowl, cover and stand; 11 tea bowls; 10 coffee cups and saucers. (25 pieces) TWO EIGHTEENTH CENTURY ORIENTAL LOWESTOFT BAS- KETS ON STANDS The one, circular; the other, oval. Openwork design with raised deco- rations of flowers; borders with painted gold beads on a sepia ground. Crest bearing initials G. D. Gilt handles. (2) TWO ORIENTAL LOWESTOFT FISH DISHES AND LINERS AND ONE LARGE MEAT DISH | Gilt beadwork borders; shield in the centre, surrounded by floral wreath suspended by a bow-knot with the initials G. D. in gold. (3) SEVENTEEN ORIENTAL LOWESTOFT SOUP PLATES Gilt beadwork borders; shield in the centre, surrounded by floral wreath suspended from bow-knot with the initials G. D. in gold. (17) TWO VERY UNCOMMON EIGHTEENTH CENTURY ORIEN TAL LOWESTOFT JARDINIERES ON STANDS The centre is decorated with a leaf design in relief, painted orchid color. The decoration is divided in the centre with gilt geometrical inset border on a blue ground. The stands are decorated on the outside with a leaf border in orchid, green and gold. On the inside is a narrow gilt geomet- rical border on a blue ground. (2) EIGHTEENTH CENTURY ORIENTAL LOWESTOFT TEA SER- VICE Decorated with a coat of arms and floral sprays. Consisting of: 1 tea- pot, cover and stand; 1 cream jug and stand; 5 tea bowls and saucers ; 3 coffee cups and saucers; 2 bowls; 2 saucers (chipped). (14 pieces) 52 393 394 395 396 397 398 TWO SMALL EIGHTEENTH CENTURY ORIENTAL LOWES- TOFT BASKETS ON STANDS Openwork design with a raised decoration of flowers; borders painted with gold beads on a sepia ground; crest bearing initials G. D. Gilt handles. (2) TWO CIRCULAR EIGHTEENTH CENTURY ORIENTAL LOWESTOFT BASKETS ON STANDS Openwork design with a raised decoration of flowers; border painted with gold beads on a sepia ground; crest bearing initials G. D. Gilt handles. (2) TWO EIGHTEENTH CENTURY ORIENTAL LOWESTOFT VASES Oviform shape; decorated with two panels, in sepia, of views, with smaller panels below, in sepia and gold, of trees and birds; alternating with these are panels, also in sepia and gold, of flowers, with similar smaller panels beneath; the whole on a ground simulating basketwork weave, and the upper panels surmounted by encircling floral decorations in sepia. (2) TWO EIGHTEENTH CENTURY ORIENTAL LOWESTOFT VASES AND COVERS Decoration of cornucopia, filled with flowers and surrounded by floral sprays and butterflies; coral-tomato borders and bases; salamander handles in gold; covers with coral-tomato borders and decorated with floral sprays surmounted by gilt kylins. (One handle slightly damaged. ) (2) Height, 914 inches. TWO VERY FINE EIGHTEENTH CENTURY ORIENTAL LOWESTOFT TWO-HANDLED JARDINIERES Decorated with bouquets and sprays of flowers in coral-tomato with sea- wave borders. (2) Height, 6 inches. [SEE ILLUSTRATION, PAGE 54] TWO EIGHTEENTH CENTURY ORIENTAL LOWESTOFT VASES Sepia decoration of views and birds in panels surrounded by grapevine in gold and purple, on a coffee-colored glaze. ‘Teakwood covers. (2) Height, 10 inches. TWO VERY FINE EIGHTEENTH CENTURY ORIENTAL LOWESTOFT TWO-HANDLED JARDINIERES Bouquets of roses surrounded by floral sprays above similar decorations, on raised fluted ground. Fleur-de-lys border around bases. Large gilt handles. Scalloped tops. Decorated on the inside with flowers and leaves. (2) Height, 7 inches. [sEE ILLUSTRATION, PAGE 54] 53 [396] [ 396 | [ 398 | [ 407 | [ 400 | [ 407 ] [ 398 | 399 TWO UNCOMMONLY LARGE EIGHTEENTH CENTURY ORI- ENTAL LOWESTOFT COVERED AMPHOR Oviform body decorated with grapevine festoons and views painted in sepia and surrounded by gilt borders. Base painted in imitation mar- ble; covers decorated with gilt floral, border surmounted by a seated female figure. (2) Height, 20 inches. 400 UNUSUALLY TALL EIGHTEENTH CENTURY ORIENTAL VASE AND COVER Graceful urn-shaped body decorated with blue star border; blue and gilt scroll handles. Cover decorated with gold star border on blue ground and surmounted by seated figure. (Shghtly damaged) Height, 23 inches [SEE ILLUSTRATION | 401 TWO EIGHTEENTH CENTURY ORIENTAL LOWESTOFT JAR- DINIERES Painted gold bead border on sepia ground; crests with the initials G. D. in gold; shell-shaped handles decorated in sepia and gold. (2) 54 403 404 4.05 406 407 408 EIGHTEENTH CENTURY ORIENTAL NANKING TEA SER- VICE Decorated with Chinese garden scenes and pagodas. Interiors with blue, gold and leaf borders. Composed of: 1 teapot, cover and stand (cover repaired) ; 1 bowl, cover and stand; 1 cream jug, cover and stand (cover repaired) ; 1 bowl (repaired) ; 9 cups and saucers; 11 tea bowls. (24 pieces ) TWO EIGHTEENTH CENTURY ORIENTAL LOWESTOFT PITCHERS Gold scroll decoration in relief with a crest bearing the initials G. D. in gold; handles with gilt flowers in relief. (2) TWO LARGE EIGHTEENTH CENTURY ORIENTAL LOWES- TOFT BASKETS ON STANDS Openwork design with a raised decoration of flowers; border painted with gold beads on a sepia ground; crest bearing initials G. D.; gilt handles. (Repaired) (2) TWO SMALL EIGHTEENTH CENTURY ORIENTAL LOWES- TOFT BASKETS ON STANDS Openwork design with a raised decoration of flowers; border painted with gold beads on a sepia ground; crest bearing initials G. D. Gilt handles. (2) OVAL EIGHTEENTH CENTURY ORIENTAL LOWESTOFT BAS- KET ON STAND Openwork design with a raised decoration of flowers; border painted with gold beads on a sepia ground; crest bearing initials G. D. Gilt handles. TWO EIGHTEENTH CENTURY ORIENTAL LOWESTOFT VASES Decorated with oval panels, views in coral-tomato surrounded by blue and gold garlands of leaves. (2) Height, 11 inches. [SEE ILLUSTRATION | TWO EIGHTEENTH CENTURY ORIENTAL LOWESTOFT VASES Oviform shape; decoration of two large panels in sepia, each represent- ing chateaux above and, below, birds on trees. Alternating are pairs of smaller panels, also in sepia, of floral sprays; the whole on a ground resembling basketwork weave, and the larger panels surmounted by an encircling floral decoration in sepia and gold. (2) a3) 409 410 | 409 | EIGHTEENTH CENTURY ORIENTAL LOWESTOFT COVERED AMPHORA Oviform body with salmon and gold festoons in relief. On both sides are medallions, painted in coral-tomato, surrounded by flowers and leaves; on square base; gilt scroll haridles and decorated cover. Height, 1414 inches. [SEE ILLUSTRATION | EIGHTEENTH CENTURY ORIENTAL LOWESTOFT TEA SER- VICE Decorated with gold star borders and bearing crest encircling initials J. A. D. The teapot, cover, stand and large bowl of this service were manufac- tured at the Spode factory. The service is composed of: 12 cups and saucers; 4 tea bowls and saucers ; 1 large bowl and stand; 1 cream jug and stand; 1 teapot, cover and stand; 2 small bowls. (21 pieces ) 56 [411] 411 UNUSUALLY FINE EIGHTEENTH CENTURY ORIENTAL LOWESTOFT AMPHORA Oviform body covered with a coffee-colored glaze; festoons carved in relief ; medallion of views in sepia surrounded by border of leaves and flowers; gilt handles in the form of roses. Base painted to simulate marble; cover decorated with floral border; pineapple finial. Height, 1614 inches. [SEE ILLUSTRATION | 412 EIGHTEENTH CENTURY ORIENTAL LOWESTOFT VASE Decorated with bouquets and sprays of flowers, butterflies and birds; base and rim painted with coral-tomato and gold scrolls. Height, 101% inches. 4183 EIGHTEENTH CENTURY ORIENTAL LOWESTOFT MUG Decoration of flowers with salmon and blue border; rope handle. Height, 5 inches. 414 417 418 419 EIGHTEENTH CENTURY ORIENTAL LOWESTOFT PITCHER AND COVER Decoration of floral sprays in blue and gold with circular medallion, gold star border on blue ground; rope handle. Cover with gold star border surmounted by dolphin. (Cover repaired.) TWO EIGHTEENTH CENTURY ORIENTAL LOWESTOFT VASES Bouquets of flowers and butterflies surrounded by raised grape decora- tion. (2) Height, 12 inches. EIGHTEENTH CENTURY LOWESTOFT MUG Decoration of floral sprays with monogram I. §. Blue border and rope handle. TWO VERY FINE ORIENTAL LOWESTOFT COVERED AM- PHORA& Oviform body covered with coffee-colored glaze; decorated flowers and “ leaves in gold, with festoons carved in relief. Oval medallion with painted views in sepia on each side; square bases painted to resemble marble. Covers decorated with gold and coral-tomato border ; gilt pine- apple finials. (2) Height, 14 inches. [SEE ILLUSTRATION | TWO VERY FINE EIGHTEENTH CENTURY ORIENTAL LOWESTOFT COVERED AMPHOR At ) Urn-shaped body; fleur-de-lys festoons in relief; medallion on either side painted in sepia and surrounded by blue and gilt border; blue and gilt scroll handles. Covers decorated with blue border; pineapple finials. (2) Height, 1414 inches. [SEE ILLUSTRATION | TWO EIGHTEENTH CENTURY ORIENTAL LOWESTOFT COV- ERED AMPHORA White metallic glaze decorated with festoons and fleur-de-lys carved in ~ relief; oval panels on both sides surrounded by coral-tomato, green and blue border decorated with flowers and butterflies ; gilt scroll handles; on square bases painted to simulate marble. Covers decorated with blue, green and gold border ; gilt pineapple finials. (2) Height, 15 inches. 58 [418] 420 421 4214 423 424 425 EIGHTEENTH CENTURY ORIENTAL LOWESTOFT BOWL AND COVER Decorated with a border of gold beads on a sepia ground; crests on each side with the initials G. D. in gold; gilt and sepia rabbit-head handles. Cover decorated in a similar manner and surmounted by a crown. TWO EIGHTEENTH CENTURY ORIENTAL LOWESTOFT BAS- KETS ON STANDS Openwork design with raised decorations of flowers; borders painted with gold beads on a sepia ground; crest bearing initials G. D. Gilt handles. (2) EIGHTEENTH CENTURY ORIENTAL LOWESTOFT SUPPER SET Composed of four shaped dishes and covers forming a circle, and a small tureen and cover. They are decorated in a leaf and flower de- sign of brilliant green on a white metallic glaze. (5 pieces) | TWO LARGE CIRCULAR EIGHTEENTH CENTURY ORIENTAL LOWESTOFT BASKETS ON STANDS Openwork design with raised decorations of flowers; borders painted with gold beads on a sepia ground; crest bearing initials G. D. Gilt handles. (2) THE COLLECTION OF ENGLISH METALLIC RESIST (LUSTRE) WARES COPPER, SILVER AND PURPLE NUMBERS 423-470 EIGHTEENTH CENTURY ENGLISH TURNER WARE PITCHER Decorated with a hunting scene in relief; top covered with a brown glaze; silver mount. SET OF THREE EARLY NINETEENTH CENTURY ENGLISH WEDGWOOD VASES Urn shape. Decorated with a mottled glaze. Ring handles. (8) EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE JUG On the one side a painted scene representing the Sunderland bridge. Inscribed, and dated 1795-96. On the other side ships with inscription. 60 426 427 428 429 430 431 432 433 434 435 TWO EIGHTEENTH CENTURY ENGLISH SILVER LUSTRE TEAPOTS AND COVERS Fluted and beadwork designs. (2) EIGHTEENTH CENTURY ENGLISH SILVER LUSTRE TEA- POT AND COVER AND COFFEE POT AND COVER (2) EIGHTEENTH CENTURY ENGLISH SILVER LUSTRE TRITON CANDLESTICK On square base. EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE JUG AND STAFFORDSHIRE MUG The jug decorated with Chinese figures, pagodas, birds and flowers on a blue ground; the mug decorated in an agate design. (2) SET OF THREE EARLY NINETEENTH CENTURY ENGLISH WEDGWOOD SPILL VASES Raised blue decoration, chariot scenes and classical figures; top border of a similar scroll design on a white ground. (3) EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE SIL- VER LUSTRE STAG On oblong, shaped and moulded base. TPWO EIGHTEENTH CENTURY ENGLISH SILVER LUSTRE TEAPOTS AND COVERS Fluted and beadwork designs. (2) TWO EIGHTEENTH CENTURY ENGLISH SILVER LUSTRE TEAPOTS AND COVERS One with fluted and beadwork design; the other with a white floral deco- ration. (2) EARLY ENGLISH COPPER LUSTRE TEAPOT AND COVER; STAFFORDSHIRE AGATE WARE MUG; A SILVER LUSTRE CREAM EWER, AND A COPPER LUSTRE MUSTARD POT AND COVER (4) EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE JUG Decorated on each side with fishing scenes on an orange-colored ground. 61 436 437 438 439 4.4.0 TWO EIGHTEENTH CENTURY ENGLISH SILVER LUSTRE COFFEE POTS AND COVERS Fluted and beadwork decoration. (2) TWO EIGHTEENTH CENTURY ENGLISH SILVER LUSTRE TEAPOTS AND COVERS Fluted designs. (2) EARLY NINETEENTH CENTURY ENGLISH STAFFORDSHIRE PURPLE LUSTRE JUG On the one side, painted masonic signs; on the other, two figures with inscriptions: “Let brotherly love continue.” Front inscribed “Moses and Hannah Mills.” Dated 1822. TWO VERY UNCOMMON EIGHTEENTH CENTURY ENGLISH TURNER WARE TWO-HANDLED URNS The upper part decorated with chocolate-colored biscuit classical figures in relief, on a cream ground. Below is an acanthus leaf decoration in relief with scrolls covered with a silver resist lustre glaze. Fluted column on a square base covered with a silver lustre glaze on a cream-colored ground. Two masks on each side support fluted and leaf-carved handles. Beaded lips covered with a similar glaze. (2) [SEE ILLUSTRATION | TWO UNUSUAL WEDGWOOD PURPLE LUSTRE VASES AND COVERS Oviform bodies. Interior and exterior covers with perforated tops. (2) [SEE ILLUSTRATION | 62 ree ‘ pardon . sa ? -osntieeeeemmantaan , 2 3 TWO TURNER WARE TWO-HANDLED URNS [439] TWO WEDGWOOD PURPLE RESIST LUSTRE VASES AND COVERS £440] TWO WEDGWOOD PURPLE RESIST LUSTRE WALL POCKETS [458 ] 63 441 4.43 44:4 45 4.46 4A7 448 TWO EIGHTEENTH CENTURY ENGLISH SILVER RESIST LUSTRE MUGS ~ One decorated with birds in colors on a silver lustre ground. The other decorated with farmhouse scene in panel on a canary-yellow ground. (2) EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE JUG The lower part decorated with four panels of rosettes surrounded by raised fluting; the upper part with flowers and leaves in relief in colors. TWO EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE JUGS On silver resist lustre ground; the decorations of birds and foliage. (2) LARGE EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE JUG Decorated with sprays on a silver resist lustre ground. TWO EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE JUGS The one, silver resist lustre ground with stencilled flower and trellis decoration. On each side are oval panels painted with views. The other decorated in colors with scenes. Inscribed “The narrow escape of Bonny through a window.” Resist silver lustre band around neck. (2) TWO EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE JUGS Silver resist lustre ground; the one decorated with pattern of peacock and leaf; the other with floral medallion decoration. (2) TWO EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE JUGS Solid silver resist lustre ground; the one decorated with birds and foli- age in white, the other with floral designs. (Latter slightly damaged) (2) TWO EIGHTEENTH CENTURY ENGLISH SILVER RESIST LUSTRE JUGS One decorated with birds and flowers, the other with floral sprays. (2) 64 4.49 450 451 452 453 454 455 456 EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE JUG Silver resist lustre ground, decorated with hunting scene in blue. EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE TEA SERVICE Oval panels in silver resist lustre and coral-tomato, with decorated bor- ders. Comprising: 11 cups and saucers; 1 teapot, cover and stand; 1 large bowl and stand; 1 small bowl and stand; 1 small cream jug. (15 pieces) EIGHTEENTH CENTURY ENGLISH SILVER RESIST LUSTRE BUST EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE CRO- CUS POT AND COVER Silver resist lustre ground decorated with panels of flowers. (Cover slightly damaged) TWO EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE JUGS One decorated with an exotic bird on silver resist lustre ground, and the other with silver resist lustre on a canary ground. (2) TWO EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE JUGS Silver resist lustre ground, decorated with birds and foliage. (2) EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE SIL- VER RESIST LUSTRE JUG Decorated on a solid silver lustre ground with an all-over pattern of grapevine in blue. EIGHTEENTH CENTURY ENGLISH SILVER RESIST LUSTRE TEA SERVICE Decorated with flowers. Comprising: Teapot and cover; cream jug; sugar bowl and cover; bowl; 8 cups and saucers. (7 pieces) 65 458 459 460 461 462 463 TWO EIGHTEENTH CENTURY ENGLISH PURPLE LUSTRE JUGS One decorated with hunting scene on a yellow ground; purple lustre band around top. The other decorated with scenes, geometrical border at top. (2) TWO EIGHTEENTH CENTURY ENGLISH WEDGWOOD PURPLE RESIST LUSTRE WALL POCKETS In the shape of Nautilus shells; impressed mark Wedgwood. (2) [SEE ILLUSTRATION, PAGE 63] TWO EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE JUGS Foliage decorations on silver resist lustre ground. (2) TWO EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE JUGS On silver resist lustre ground; the one decorated with agricultural tools and sheaves of wheat; the other with an uncommon decoration of irregu- lar waveline design. (2) EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE CRO- CUS POT AND COVER Decorated with panels of flowers on a silver resist lustre ground. TWO VERY UNCOMMON EIGHTEENTH CENTURY ENGLISH LUSTRE TWO-HANDLED VASES Silver resist lustre ground with stencilled flowers and star. Decorated with ropes and tassels held by silver rosettes carved in relief. Solid: silver resist handles. (2) Height, 814 inches. TWO EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE JUGS Silver resist lustre ground; the one with fluted and floral decoration, and the other with star medallion decoration, fluted and floral border. (2) 66 464 466 467 468 469 470 EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE CRO- CUS POT Resist silver lustre ground, decorated in panels of foliage and flowers. Cover. EARLY NINETEENTH CENTURY ENGLISH STAFFORDSHIRE BUST John Wesley, 1703-91, the founder of the Methodists. TWO EIGHTEENTH CENTURY ENGLISH WEDGWOOD CRO- CUS POTS Bases decorated with acanthus leaves in relief; bodies covered with a mottled glaze. (2) Height, 191 inches. EARLY NINETEENTH CENTURY ENGLISH STAFFORDSHIRE COMPOTE Decorated with silver lustre acanthus leaves on a canary ground; geo- metrical border in silver lustre. TWO EIGHTEENTH CENTURY ENGLISH WEDGWOOD WALL POCKETS Nautilus shell shape; covered with a purple resist lustre. Impressed mark “Wedgwood.” (2) EARLY NINETEENTH CENTURY ENGLISH STAFFORDSHIRE JUG The lower part decorated with a floral and fluted design; the whole cov- ered with a purple lustre glaze. EIGHTEENTH CENTURY ENGLISH STAFFORDSHIRE SIL- VER LUSTRE JUG Buff-colored glaze. On the one side Masonic emblems, and on the other a text. Inscribed below the lip, Jonn Durron, Srocxron, 1813, in silver. Rim decorated with geometrical pattern of silver. 67 nes SALE WEDNESDAY AFTERNOON, JANUARY THIRTY-FIRST, AT 2:30 472 473 47 4 AT5 476 AG] FOURTH SESSION NUMBERS 471-627 OLD ENGLISH FURNITURE AND PAINTED ROOMS 17TH, 18TH AND EARLY 19TH CENTURIES EIGHTEENTH CENTURY ENGLISH WALNUT LAMP STAND Queen Anne period. Octagonal top, spiral stem, tripod base, on three scroll legs. SEVENTEENTH CENTURY ENGLISH OAK HIGH-BACK ARM- CHAIR Back composed of curved top rail supported by incurved side rails and two centre splats; scroll arms on similar arm supports. On cabriole legs connected by turned stretchers. EIGHTEENTH CENTURY ENGLISH WIG STAND Chippendale period. Circular top carved in a leaf and scroll design, below which are two small drawers surmounted by small bowl and cover ; on triangular supports, standing on three carved scroll legs supporting understretcher. EIGHTEENTH CENTURY ENGLISH SMALL TRIPOD TABLE Chippendale period. Circular top with beaded edge on turned and fluted column, supported by three shaped legs carved at the knees. EIGHTEENTH CENTURY ENGLISH BRISTOL PORCELAIN BASKET OF FLOWERS By Ramey. An exceptionally fine example of the Bristol Factory. It represents a basket of various flowers and leaves which are worked out to the most minute detail. In a carved and gilt frame. EIGHTEENTH CENTURY ENGLISH NEST OF TABLES Sheraton period. On turned spindle columns supported by shaped feet. SET OF OLD ENGLISH GREEN IVORY HANDLED STEEL KNIVES AND FORKS Twelve knives and 12 four-pronged forks. (24) 69 478 480 481] 482 483 484 485 486 487 COLLECTION OF OLD ENGLISH GREEN IVORY HANDLED KNIVES Comprising 24 knives with steel blades. (24) EIGHTEENTH CENTURY ENGLISH LADY’S DRESSING CASE Sheraton period. Interior fitted with silver-mounted cut glass bottles. Original brass drop handles. Top inlaid with small agate medallions. EIGHTEENTH CENTURY ENGLISH TRIPOD TABLE Chippendale period. Shaped tray top on turned column, supported by three shaped legs with scroll carving and scroll feet. EIGHTEENTH CENTURY ENGLISH CARVED MAHOGANY TUB CHAIR Chippendale period. On cabriole legs carved at the knees; ball and claw feet. Upholstered and covered with red silk. EIGHTEENTH CENTURY ENGLISH MAHOGANY BIRDCAGE Chippendale period. Octagonal base supporting three tiers on carved columns, dome-shaped top with leaf-carved finials. EIGHTEENTH CENTURY ENGLISH LADY’S HAREWOOD WORK TABLE Sheraton period. Octagonal top; fitted with one drawer, with a sliding bag below; top and sides inlaid with satinwood. Supported by four tapered legs. CARVED MAHOGANY CHIPPENDALE ARMCHAIR Curved arm supports. On square legs carved in a Gothic design. Seat and back upholstered and covered with blue silk. KIGHTEENTH CENTURY ENGLISH MAHOGANY CARD TABLE Sheraton period. Forming semi-circular console. Lift-up top inlaid with bands of satinwood; standing on four tapered legs. KIGHTEENTH CENTURY ENGLISH NEST OF TABLES Sheraton period. Turned spindle columns supported by shaped feet. KIGHTEENTH CENTURY ENGLISH MAHOGANY SIDE TABLE Sheraton period. Bomb shape, fitted with one drawer with brass handle and escutcheon plate. 70 488 489 4.90 491 492 493 494 495 496 EIGHTEENTH CENTURY ENGLISH MAHOGANY STOOL Chippendale period. Oval seat supported by four square legs carved in Gothic style and connected by fretwork spandrels. Loose cushion seat, upholstered and covered in red silk damask. EIGHTEENTH CENTURY ENGLISH MAHOGANY TIP TABLE Chippendale period. Octagonal top on tripod base carved with leaves. OLD ENGLISH MAHOGANY EXTENSION TABLE Plain mahogany top on four square tapered legs. Fitted with one drawer. Original brass handles. SET OF SIX EIGHTEENTH CENTURY ENGLISH PAINTED SIDE CHAIRS Adam period. Shield-shaped backs; centre splats formed by an urn painted in flowers ; turned tapering legs painted in a similar manner. (6) EIGHTEENTH CENTURY ENGLISH MAHOGANY SIDE TABLE Chippendale period. Plain top with leaf and ribbon carved edge; on square legs carved in a Gothic design; fretwork spandrels. EIGHTEENTH CENTURY ENGLISH MANTEL MIRROR Adam period. Composed of a large centre plate and two smaller side plates, surrounded by a shaped, moulded and carved frame and sepa- rated by fluted columns. Standing on ball feet. EIGHTEENTH CENTURY ENGLISH MAHOGANY TORCHERE Shaped piecrust top; fluted triangular columnar support on three scroll feet. EIGHTEENTH CENTURY ENGLISH WINDOW SEAT Adam period; scroll shape; seat upholstered and covered in green damask; supported by square tapered legs, painted in urn and scroll design. TWO EIGHTEENTH CENTURY ENGLISH POLE SCREENS OF THE SHERATON PERIOD On twisted and baluster stems with circular and gadrooned bases; urn- shaped finial, painted black and gold and furnished with oval pole panels, holding silk-embroidered bouquets of flowers worked in natural colors on a cream ground. (2) yeh 4S7 498 499 501 502 504 EIGHTEENTH CENTURY ENGLISH MAHOGANY CHINA CAB- INET ON STAND Sheraton period. Upper portion partly enclosed by two glass doors, above and on either side of which are small shelves; two small drawers below. Inlaid bands of satinwood and satinwood rosettes. Half-circular base supporting undershelf ; on four square tapered spandrels inlaid with satinwood. EIGHTEENTH CENTURY ENGLISH MAHOGANY CELLAR- ETTE Georgian period. Upper part fitted with small compartments bound with wide brass bands. Original brass mask-head drop handles; stand supported by four square legs; fretwork spandrels. EIGHTEENTH CENTURY ENGLISH MAHOGANY CHEST OF DRAWERS Chippendale period. Top with carved leaf border; fitted with four drawers with original brass drop handles. On four carved block feet. TWO EIGHTEENTH CENTURY ENGLISH CARVED AND GILT WOOD WALL BRACKETS Georgian period. Centre part formed by ribbon carving in the centre of which is a flying eagle; below are three scroll brackets with female heads holding metal bobéches. (2) SEVENTEENTH CENTURY ENGLISH OAK REFECTORY TABLE Supported by four turned legs connected by understretcher. SET OF NINE EIGHTEENTH CENTURY ENGLISH YEW-TREE WINDSOR SINGLE CHAIRS AND TWO ARMCHAIRS Oval backs; supported in the centre by a fretwork splat in a wheel pat- tern with three spindles on either side; curved arms on shaped arm sup- ports; standing on four turned spindle legs, connected by turned spindle understretchers. (11) SEVENTEENTH CENTURY ENGLISH OAK BRIDAL CHEST Plain moulded cover, panelled front with carved letters G. R. and date 1678. Panelled sides. EARLY EIGHTEENTH CENTURY ENGLISH OAK MONK?’S CHAIR Oval lift-up top. Four columns connected by stretchers support the seat. Carved front and sides. 72 506 507 508 511 512 SEVENTEENTH CENTURY ENGLISH SIDE CHAIR Stuart period. Splat back with twisted side rails; twisted legs con- nected by carved stretchers. SEVENTEENTH CENTURY ENGLISH OAK MARRIAGE CHEST ON STAND The front engraved with the Coat of Arms of James II. SMALL FIVE-LIGHT CRYSTAL CHANDELIER Draped with crystal festoons from the top, forming bowl at bottom, with shaped arms fitted with bobéches and candle holders. EIGHTEENTH CENTURY ENGLISH MAHOGANY CARD TABLE ‘Sheraton period. Forming semicircular console table. Lift-up top, inlaid with bands of satinwood; standing on four tapered legs. EIGHTEENTH CENTURY ENGLISH MAHOGANY FIRE SCREEN Chippendale period. Needlework panel executed in a floral design on a black ground; sliding mahogany frame surmounted by carved head me- dallion, leaves and bow knots. Base of stand carved urn and scrolls; supported by four shaped feet. TWO EIGHTEENTH CENTURY ENGLISH MAHOGANY WIN- DOW SEATS Hepplewhite period; scroll-shaped ends; supported by carved and fluted legs. (2) EIGHTEENTH CENTURY ENGLISH MAHOGANY CHEST OF DRAWERS Chippendale period. Front with carved leaf edge; fitted with four drawers with original brass drop handles and escutcheons. Carved beaded base. EIGHTEENTH CENTURY ENGLISH MIRROR Queen Anne period. Oblong mirror plate with arched top, surrounded by glass panels painted in a Gothic manner in gold on a tortoise-shell colored ground. Mirror plate painted at the top with Prince of Wales’ feathers. } 13 513 514 515 EIGHTEENTH CENTURY ENGLISH MAHOGANY WRITING TABLE Chippendale period. Oblong green baize top; fitted with two small draw- ers with original brass handles; on four cabriole legs carved at the knees in a Shell, leaf and scroll pattern; standing on ball and claw feet. TWO OLD ENGLISH TERRESTRIAL AND CELESTIAL WORLD GLOBES ON STANDS Turned tripod stands connected by turned stretchers. Made by Cruch- ley, Fleet Street, London. (2) EIGHTEENTH CENTURY ENGLISH WING CHAIR Cabriole legs carved at the knees and terminating in ball and claw feet. Upholstered and covered in floral crewel work on a blue ground. ENGLISH CHIPPENDALE MAHOGANY TWO-FOLD SCREEN Fluted legs supporting fretwork stretcher; below are fluted stretcher supports. EIGHTEENTH CENTURY ENGLISH MAHOGANY CARD TABLE Sheraton period. Fold-over top forming semicircular console supported by four tapered legs. TWO EIGHTEENTH CENTURY ENGLISH ARMCHAIRS Adam period. Painted black and gold, oval backs, shaped arms, tap- ered and fluted legs. Upholstered and covered in red silk in a floral design. (2) EIGHTEENTH CENTURY ENGLISH MAHOGANY LAMP STAND Adam period. Plain circular top; fluted gilt stem on fluted mahogany and gilt tripod. EIGHTEENTH CENTURY ENGLISH LADY’S MAHOGANY WRITING DESK Sheraton period. Lift-up top, inlaid with bands of satinwood ; sliding screen back and adjustable writing pad; fitted with one drawer; front and sides inlaid in a similar manner. On four square tapering legs con- nected by understretchers. 74 521 523 524 an “WO Or 526 527 EIGHTEENTH CENTURY ENGLISH MAHOGANY WING CHAIR Hepplewhite period. On four carved square tapering legs. Upholstered and covered in a green floral silk damask. Loose cushion seat. TWO EIGHTEENTH CENTURY SATINWOOD POLE SCREENS Adam period. Shield-shaped panels with oval medallion representing female carrying agricultural implements and surrounded by festoons of flowers. On painted and scroll carved supports, on three carved and painted legs. (From the Collection of the Baroness Burdett-Coutts ) (2) EIGHTEENTH CENTURY ENGLISH MAHOGANY TWO-FLAP DINING TABLE Chippendale period. Oval top with border carved in acanthus leaves ; on eight square legs. TWO EIGHTEENTH CENTURY ENGLISH CARVED AND GILT WOOD ARMCHAIRS Adam period. Shaped top and side rails, carved with rosettes; scroll arms and supports; front and sides carved in similar manner. On square carved, fluted and tapering legs. Seats and backs upholstered and covered in light blue silk. (2) EIGHTEENTH CENTURY ENGLISH LADY’S MAHOGANY WORK TABLE Sheraton period. Half-circular ends with gallery; on lyre-shaped sup- port; on four shaped claw feet. EIGHTEENTH CENTURY ENGLISH MARBLE MANTELPIECE _ Adam period. EIGHTEENTH CENTURY ENGLISH MAHOGANY BREAKFAST TABLE Sheraton period. Oblong top with moulded edge supported by turned column, standing on four shaped legs. EIGHTEENTH CENTURY SPANISH YELLOW DAMASK COV- ERLET Composed of a conventionalized design of leaves and flowers in two-tone vellow. Length, 1214 yards. 75 529 530 531 532 534 535 536 SET OF SIX EIGHTEENTH CENTURY ENGLISH SIDE CHAIRS Georgian period. Carved, fluted top and bottom rails supported by col- umns; shaped aprons with leaf festoons in relief; rosetted dies on four spirally turned tapering legs. (6) EIGHTEENTH CENTURY ENGLISH CARVED MAHOGANY SETTEE Chippendale period. Back carved in a leaf, shell and scroll design; scroll arms carved in similar manner with mask heads. Plain mahogany seat supported by cabriole legs carved on the knees and terminating in claw feet. TWO OLD ENGLISH MAHOGANY TORCHERES Plain turned tapering support connected by scroll-shaped tripod. (2) EIGHTEENTH CENTURY ENGLISH SATINWOOD COMMODE Adam period. Shaped top, border painted in a leaf and flower design. Centre compartment enclosed by two convex trelliswork doors. ‘Two side compartments enclosed by concave doors painted with medallions of flowers. Supported by six painted columns on turned feet. EIGHTEENTH CENTURY ENGLISH CARVED AND GILT WOOD CONVEX MIRROR Georgian period. Oval mirror plate with moulded and beaded frame, shell and leaf carving below. At the sides are scroll-shaped arms hold- ing cut glass bobéches and nozzles; surmounted by carved and gilt wood - eagle. TWO EIGHTEENTH CENTURY ENGLISH PAINTED PED- ESTALS Adam period. Oblong top decorated with acanthus leaves and supported by square tapered columns decorated with festoons of flowers. (2) EIGHTEENTH CENTURY ENGLISH MAHOGANY CORNER CUPBOARD Chippendale period. The upper part enclosed with two glass doors, surmounted by carved cornice and carved scrolls at sides; the lower part as a cupboard fitted with one drawer with compartments. EIGHTEENTH CENTURY ENGLISH MAHOGANY WINDOW SEAT Chippendale period. Scroll ends supported by four cabriole legs carved at the knees in a leaf and scroll pattern and terminating in ball and claw feet. Upholstered and covered in a striped damask. 76 O87 538 539 540 541 542 KIGHTEENTH CENTURY ENGLISH MAHOGANY CONSOLE TABLE Sheraton period. Apron inlaid with urn and bands of satinwood. Dies inlaid with urns. On square tapered legs inlaid with fleur-de-lys. EIGHTEENTH CENTURY ENGLISH MAHOGANY SECRE- TAIRE BOOKCASE Sheraton period. Upper part composed of a cabinet enclosed by two glass doors inlaid with bands of satinwood, and surmounted by moulded and beaded cornice. The bottom part is composed of a cylindrical top desk, the interior of which is fitted with six small drawers and three small compartments in satinwood. The slide has a lift-up writing stand covered with green leather. Below are three long drawers with original brass drop handles. On shaped base inlaid with bands of satinwood. EIGHTEENTH CENTURY ENGLISH MAHOGANY CIRCULAR LIBRARY TABLE Sheraton period. Plain mahogany top; fitted with six real and two dummy drawers; turned columnar support; on four scroll fluted legs. TWO EIGHTEENTH CENTURY ENGLISH MAHOGANY SIDE CHAIRS Chippendale period. On cabriole legs carved at the knees. Upholstered backs and seats. (2) EARLY EIGHTEENTH CENTURY ENGLISH “ACT OF PARLIA- MENT” CLOCK Circular moulded body, painted black. The entire front is occupied by a dial with boldly painted numerals and gilded hands. TWO EARLY NINETEENTH CENTURY ENGLISH TERRES- TRIAL AND CELESTIAL WORLD GLOBES Carved and fluted columns on tripod stands. (2) EIGHTEENTH CENTURY ENGLISH PAINTED CANVAS SIX- FOLD SCREEN Four of the panels are composed of urns filled with flowers and resting on pedestals with tropical birds in bright plumage perched upon their tops. The remaining panels bear nude figures of putti with emblems of love and festoons of flowers suspended above their heads. The tops are enriched by draperies of crimson. 7 544 cx re o>) O49 EIGHTEENTH CENTURY ENGLISH MAHOGANY WING ARM- CHAIR Standing on square tapered legs, carved at the tops; fretted spandrels ; upholstered and covered in a flowered gros point. EIGHTEENTH CENTURY ENGLISH CARVED MAHOGANY CARD TABLE Chippendale period. Shaped top; leaf carved edge; on four cabriole: legs carved at the knees; ball and claw feet. EIGHTEENTH CENTURY ENGLISH MAHOGANY POLE SCREEN Chippendale period. Tripod base; on three curved legs; supports a panel of needlework in a flower design. EIGHTEENTH CENTURY ENGLISH MAHOGANY SIDE TABLE Chippendale period. Top with carved leaf border. Fitted with two drawers with original drop handles. Cabriole legs carved at the knee. EIGHTEENTH CENTURY ENGLISH MAHOGANY DINING TABLE Sheraton period. Formed in three sections; the ends are half-circular and the centre oblong; each supported by four fluted legs terminating in scroll feet. Two extra leaves. SEVENTEENTH CENTURY SPANISH ROSE SATIN COVERLET With tasselled fringe. Length, 10 yards. SEVENTEENTH CENTURY SPANISH ROSE. SATIN COVERLET With tasselled fringe. Length, 10 yards. SET OF SIX EIGHTEENTH CENTURY ENGLISH MAHOGANY SIDE CHAIRS AND TWO ARMCHAIRS Chippendale period. On square legs with carving in a Gothic design connected by understretchers; fretwork spandrels. Curved arms sup- ported by a fretwork design panel held by curved supports. Seats and backs upholstered and covered. (8) EIGHTEENTH CENTURY ENGLISH SIX-FOLD PAINTED LEATHER SCREEN Latticework decoration forming panels of rosettes surrounded by a wide scroll and leaf border in gold on a black ground. 78 553 555 997 Or or ee) 559 560 TWO OLD ENGLISH MAHOGANY TORCHERES Shaped tops on tapered columnar supports standing on three shaped legs. (2) EIGHTEENTH CENTURY ENGLISH MAHOGANY SIDEBOARD Sheraton period. Top inlaid with satinwood border; two larger draw- ers in the front inlaid with satinwood with original brass drop handles ; square tapered legs inlaid with bands of satinwood. FIGHTEENTH CENTURY ENGLISH CARVED AND GILT WOOD MIRROR Chippendale period. Shaped mirror plate, with scroll-shaped frame with flower and leaf carving at sides and below. EIGHTEENTH CENTURY ENGLISH MAHOGANY POLE SCREEN Chippendale period. Oblong moulded floral carved frame holding panel of tapestry representing fruit and flowers, on carved columnar supports standing on three cabriole legs carved at the knees. EIGHTEENTH CENTURY ENGLISH CHEST Chippendale period. Plain mahogany top, leaf and shell carved edge fitted with three drawers, original brass ring handles; carved and moulded base on four shaped feet carved in a Gothic design. TWO EIGHTEENTH CENTURY ENGLISH CUT GLASS FIVE- LIGHT WALL APPLIQUES Adam period. Centre stem supporting inverted bobeches from which hang draped pendants surmounted by star finials. Curved arms holding star bobeches and glass candle holders. (2) EIGHTEENTH CENTURY ENGLISH MAHOGANY KNEEHOLE DESK Chippendale period. Plain mahogany top with carved scroll edge; pull- out drop front writing compartment, below which are six small drawers forming pedestals; on four shaped feet. Original brass handles and escutcheon plates. EIGHTEENTH CENTURY ENGLISH MAHOGANY BOOKCASE Chippendale period. Top part formed by three cabinets enclosed by glass doors and surmounted by carved leaf cornice. Lower part with pull-out secrétaire in top; fitted with six drawers and seven small com- partments, below which are two panelled doors, with rosettes in corners, enclosing a cupboard; on carved and moulded base. 79 561 Cn co bo 563 564 565 567 568 EIGHTEENTH CENTURY ENGLISH ALABASTER URN In the Italian taste of the Adam period. Large vasque acanthus carved at the bottom furnished with two interlaced serpent handles on a moulded fluted socle; yellow Sienna marble base. EIGHTEENTH CENTURY ENGLISH MAHOGANY CHEST Chippendale period. Fitted with four drawers, with original brass drop handles; on four shaped feet connected by shaped underpart. EIGHTEENTH CENTURY ENGLISH MAHOGANY ARMCHAIR Chippendale period. Arms in a lattice and floral design; on four square legs carved in a similar manner; connected by understretcher. Uphol- stered and covered in floral crewel work. EIGHTEENTH CENTURY ENGLISH MAHOGANY BEDSIDE CUPBOARD Sheraton period. ‘Top inlaid with satinwood; cupboard formed by one door with brass handles; on square legs. EARLY NINETEENTH CENTURY ENGLISH MAHOGANY LADY’S WORK TABLE Shaped top; inlaid with bands of satinwood. Front inlaid in a similar manner. Interior fitted with small mirror; original bobbins and various compartments. On fluted columnar support; triangular base; brass claw feet. OLD CHINESE SILK EMBROIDERY EIGHT-FOLD SCREEN Decorated with Chinese figure subjects and trees worked in colored silk on a satin ground. SEVENTEENTH CENTURY SPANISH POLYCHROME CHEST Steeple top; painted on each side in various flowers; fall-down front; decorated on inside with bright-colored scrolls and leaves. The exterior decorated in similar manner to the top; standing on four carved and gilt wood ball and claw feet. SEVENTEENTH CENTURY SPANISH CHEST Covered with original red velvet on which are wrought-iron diamond- shaped plates; fitted with original wrought-iron lock and handles. KIGHTEENTH CENTURY ENGLISH OAK GATE-LEG TABLE On turned and tapered supports. Fitted with one drawer. 80 570 573 575 576 577 TWO OLD ENGLISH WALNUT SIDE CHAIRS Back formed by shaped top rail supported by carved side rail and three twisted splats; shaped apron; on cabriole legs, carved at knees; slip seats, covered in a flowered needlework. (2) SEVENTEENTH CENTURY OAK CHEST Plain top, carved edge. Front enclosed by small fluted door with orig- inal hinges and drop handle. On each side is a small perforated panel; plain panel ends; supported by four peg-shaped legs. SEVENTEENTH CENTURY ENGLISH OAK HALL CHAIR _ Arch-shaped back with flower carved in panel. Dated 1617. Shaped arms on column supports; standing on turned legs. SEVENTEENTH CENTURY ENGLISH OAK REFECTORY TABLE Moulded top supported by four turned columnar supports, connected by stretchers. SEVENTEENTH CENTURY ENGLISH OAK ARMCHAIR High back with leaf-carved panel surrounded by an arched frame; shaped arms on similar supports. Panel carved in a similar manner to the back; on square legs connected by understretchers. EIGHTEENTH CENTURY ENGLISH MAHOGANY TWO-FLAP DINING TABLE Chippendale period. Oval-shaped top with moulded edge carved in a’ scroll and leaf pattern; supported by six turned tapering legs on club feet. EARLY SEVENTEENTH CENTURY CRIMSON DRAP D’OR Cut and uncut Genoese velvet panel occupied by a central motif of a basket with boldly spreading flowers. EIGHTEENTH CENTURY ENGLISH MAHOGANY CELLAR- ETTE | Georgian period. Lift-wp top with moulded edge and bound with brass bands. Original brass drop handles. Fluted stand supported by simi- larly carved legs. 81 THE LARGEST COLLECTION OF PAINTED WAINSCOTS EVER OFFERED In our days of unionized effort and disappointing execution of the most prom- ising designs, a wainscot should be welcome which, by magic, can cover large bleak surfaces with landscapes, flowered and fountain-sprayed gardens, peopled with figures in engaging costumes. Painted walls have been known since antiquity, but, being frescoes, they suf- fered with the ruin or collapse of the walls upon which they were painted. The eighteenth century brought the movable room on canvas. The names of Watteau, Goudrie, Huet, Boucher and Fragonard are associated with some of the most exhilarating rooms painted in such a manner. Holland claims a style of its own, with Hosson (See Catalogue Number 1095) as one of its most daring exponents. In England, at Drakelow Hall, the house of Sir Robert Gresley, is a landscape wainscot covering the walls of the dining hall (illustrated in Latham’s “Eng- lish Homes’), so cheery that it must invite imitation. See Numbers 715, 1014, 1031, 1095, 1158, 1160, ete. 978 TOOLED AND PAINTED CORDOVA LEATHER WAINSCOT OF THE SEVENTEENTH CENTURY Exceptionally important wainscot composed of twenty panels, the cen- tres occupied by landscapes and marines in soft blues and colors as reserves surrounded by acanthus arabesques. Tops and bottoms en- riched by horizontally designed motifs of floriated volutes furnished with interlaced dolphin and sphinx bodies, grotesques and cornucopie in grisaille with husk borders, all on a diapered, scaled, gilded and tooled ground. This room was taken bodily from a castle near Blenheim and brought to England from Flanders by the Duke of Marlborough. | SEE ILLUSTRATION | 82 TOOLED AND PAINTED CORDOVA LEATHER WAINSCOT [578 | 579 580 5835 SET OF FOUR VERY UNCOMMON GEORGIAN PAINTED AND CARVED WOOD ARMCHAIRS Cushioned top rail supported by intertwined snakes, shaped arms termi- nating in lion mask-heads supported by shaped armrests; curved square tapering legs with ball and claw feet. Seats upholstered and covered in red. (4) AN IMPORTANT EIGHTEENTH CENTURY ENGLISH CARVED WOOD CONSOLE TABLE Walnut top supported by four mask-heads on scroll-shaped supports, forming legs and connected by crossed stretcher. On four feet carved in the form of dolphins. TWO EIGHTEENTH CENTURY ENGLISH CARVED AND GILT WOOD WALL APPLIQUES Georgian period. Composed of ribbon carving holding shell which sup- ports two bobéches and nozzles with leaf carving. (2) TWO EIGHTEENTH CENTURY ENGLISH NEEDLEWORK BANNER SCREENS Chippendale period. Banners executed in figures and flowers on a black ground. Carved and turned tripod stands. (2) OLD ENGLISH QUEEN ANNE BLACK LACQUER CABINET ON ~ STAND Upper part enclosed by two arched doors decorated with a design of Chinese figures and birds in gold and colors on a black ground; with original escutcheon plates, corner plates and hinges. The interior is fitted with nine small and one large drawer decorated in a similar manner. Surmounted by carved and gilt wood scroll pediment. The lower part is fitted with a writing slide, two small and three long drawers decorated in a manner similar to the top; original drop handles; on moulded base. [SEE ILLUSTRATION | 84 | Reoneacasounienseospontiueneni Rissa RBASSNSSar MAN ennnnnannAnNn QUEEN ANNE BLACK LACQUER CABINET ON STAND [583] cr CO Or Cr CO ~} 589 590 591 EIGHTEENTH CENTURY ENGLISH MAHOGANY TWO-FOLD SCREEN Chippendale period. Oblong panels containing leather of a gilt floral decoration on a green ground. Surmounted by fretwork panel. On four spindle legs, connected by stretchers holding fretwork panels. EIGHTEENTH CENTURY ENGLISH MAHOGANY WING CHAIR Chippendale period. On square legs carved in a Gothic bye uphol- stered and covered in green silk. CARVED MAHOGANY CHIPPENDALE ARMCHAIR Curved arm supports. On square legs carved in a Gothic design. Seat and back upholstered and covered in blue silk. EIGHTEENTH CENTURY ENGLISH MAHOGANY CHEST Chippendale period. Shaped top, the edge of which is carved in a floral pattern; corners with fretwork carving; base carved in a scroll design; on four shaped block feet. Fitted with four drawers with original brass handles. EIGHTEENTH CENTURY CARVED MAHOGANY TRIPOD TABLE Chippendale period. Columnar supports; on tripod base, carved at the knees and terminating’ in scroll feet. « EIGHTEENTH CENTURY MAHOGANY CHINA CABINET ON STAND Sheraton period. Upper portion partly enclosed by two glass doors, above and on either side of which are small shelves; two small drawers below. Inlaid bands of satinwood and satinwood rosettes. Half-circular base supporting undershelf; on four square tapered spandrels, inlaid with satinwood. EIGHTEENTH CENTURY ENGLISH MAHOGANY CONSOLE TABLE Chippendale period. Carved edge and apron supported by four triangu- lar carved legs. TWO EIGHTEENTH CENTURY ENGLISH MAHOGANY TORCHERES Shaped tops on twisted and tapered columns supported by three scroll Peete 2) 86 592 593 595 596 ce EIGHTEENTH CENTURY ENGLISH MAHOGANY CORNER CHAIR Chippendale period. Half-circular back with carved panelled scroll ends; supported by turned columns in carved fretwork splats; on square tapered legs. Gros point slip seat in a flower design. EIGHTEENTH CENTURY ENGLISH MAHOGANY SETTEE Chippendale period. Arms terminating in leaf and scroll carving. On carved shaped supports; legs carved at the knees, terminating in scroll carving. EIGHTEENTH CENTURY ENGLISH MAHOGANY CARD TABLE Chippendale period. Triangular shape with lift-up top, the edge of which is carved in a leaf design. On slightly cabriole legs carved at the knees in shell style and terminating in scroll feet. EIGHTEENTH CENTURY ENGLISH SATINWOOD CONSOLE TABLE Adam period. Top part inlaid with mahogany and painted scroll leaf and flower border; on turned tapering legs. EIGHTEENTH CENTURY ENGLISH MIRROR Queen Anne period. Upright oblong mirror plate with shaped walnut frame. TWO OLD ENGLISH MAHOGANY TERRESTRIAL AND CELES- TIAL WORLD GLOBES On four turned and fluted legs connected by turned and fluted stretchers. By J. W. Cary, Strand, London, England. Dated 1808. (2) EIGHTEENTH CENTURY ENGLISH MAHOGANY KNEEHOLE LIBRARY DESK Hepplewhite period. Plain mahogany top with fluted edge. Fitted with one large drawer, and three smaller drawers on each side ; drop handles ; carved fluted brackets supported by eight square legs. EIGHTEENTH CENTURY ENGLISH SATINWOOD GAMING TABLE Sheraton period. Oblong top inlaid with bands of mahogany. The centre pulls out and forms a chessboard. Front fitted with two drawers. On lyre-shaped supports standing on curved legs inlaid in a similar man- ner to the top. 87 600 601 603 604 605 606 TWO EIGHTEENTH CENTURY ENGLISH MAHOGANY ARM- CHAIRS Chippendale period. Arms carved with lion mask-heads held by carved supports; legs carved at the knees in a scroll and leaf pattern; ball and claw feet. Seats and backs upholstered and covered in silk. (2) EIGHTEENTH CENTURY ENGLISH MAHOGANY BOOKSHELF Chippendale period. Sides composed of graduated fretwork panels in a Gothic design, holding four shelves with fluted edges. EIGHTEENTH CENTURY ENGLISH MAHOGANY CORNER CUPBOARD Chippendale period. ‘Top with two doors, with two panels in each door held by carved moulding. Fluted columns at sides. Lower part with two doors, the panels of which are held in similar manner. Cornice with carved acanthus leaves. Original brass escutcheon. SMALL CRYSTAL FOUR-LIGHT CHANDELIER Draped from the top. Bottom in the form of four rings in tiers from which hang pear-shaped pendants. EIGHTEENTH CENTURY ENGLISH TRIPOD TABLE Sheraton period. Oval top inlaid with large nautilus shell; on inlaid tripod base. FELLETIN TEMPERA ROOM Composed of four large panels painted on canvas, one upright and two overdoors, occupied by farm scenes, dack ponds, architectural composi- tions, villages, churches, enlivened by motifs of tropical birds and flow- ered garlands in soft brown and scarlet, against a warm sky-blue back- ground. Formal border simulating carved wood frame. This painted room was executed for the Felletin tapestry looms in the reign of Louis Quatorze. Size of the four large panels, 8 feet 9 inches x 12 feet 4 inches. 8 feet 9 inches x 10 feet. 8 feet 9 inches x 9 feet 8 inches. 8 feet 9 inches x 10 feet 7 inches. Size of the upright panel, 8 feet 9 inches x 8 feet 6 inches. Size of the overdoors, & feet x 8 feet 8 inches. 4 feet x 8 feet. OLD FRENCH WALNUT ARMCHAIR Shaped and moulded back, scroll arms on curved supports. Moulded front and sides standing on cabriole legs. Upholstered and covered in old flowered gros point. 88 607 608 609 610 611 612 613 EIGHTEENTH CENTURY SOUTH FRENCH WALNUT AND MARQUETERIE LADY’S SECRETAIRE On cabriole supports. Gently outcurved front fitted with two drawers, desk flap furnished with centre motif of love birds in interlaced meander borders of tinted and colored woods on a thuya wood ground. Fitted with four shaped drawers with secret compartments and a pigeonhole. EIGHTEENTH CENTURY FRENCH ENTRE-DEUX Sides formed as shelves surrounded by gilt metal galleries; front fitted with one small drawer; supported by fluted columns standing on turned tapering legs with metal shoes. EIGHTEENTH CENTURY FRENCH ARMCHAIR Louis Seize period. Carved arms on scroll arm supports; carved panel and sides; rosetted dies; on turned tapering legs. Upholstered and cov- ered in maroon-colored damask. NINETEENTH CENTURY ENGLISH CARVED AND GILT FIRE SCREEN Frame profusely carved with a fruit, flower and leaf decoration, holding a needlework panel, representing a boy and girl, worked in various colors. EIGHTEENTH CENTURY ENGLISH PAINTED CONSOLE TABLE Adam period. ‘Top painted with oval medallion, girl feeding chickens, encircled with a vine of ivy; border of leaves and grapes. Apron painted with small panel of flowers and leaves. On four fluted and painted legs. EIGHTEENTH CENTURY ENGLISH WALNUT CORNER CAB- INET Queen Anne period. Top part in the form of a cupboard enclosed by a panelled door; fluted sides; surmounted by a moulded scroll and shell carved pediment; stand carved in the front in a flower and shell design ; on cabriole legs carved at knees in a similar manner and terminating in claw feet. EIGHTEENTH CENTURY ENGLISH LOVE SEAT OF THE QUEEN ANNE PERIOD Oblong back, scroll arms; on carved cabriole legs. Back, arms and loose cushion seat covered with salmon-colored silk damask. 89 614 615 616 618 619 EIGHTEENTH CENTURY ENGLISH SATINWOOD WINDOW SEAT Of the Sheraton period. Scroll-shaped ends inlaid on either side in flowers and leaves; rosetted dies; on square tapered legs inlaid in a fleur- de-lys pattern. OLD COLONIAL MAHOGANY WORK TABLE Lift-up top; interior fitted with small compartments with drawer and work bag; on lyre-shaped supports connected by turned understretcher. NINETEENTH CENTURY ENGLISH CARVED WOOD AND GILT MIRROR Georgian period. Sides formed by fluted columns, mirror plate sur- mounted by an eglomisé painting of a cottage. EIGHTEENTH CENTURY ENGLISH MAHOGANY LIBRARY TABLE Chippendale period. Plain octagonal top with carved leaf edge; fitted with four drawers, with original brass drop handles; base formed by octagonal stand fitted with panelled door encircling cupboard; panelled sides on moulded base. TWO OLD ENGLISH TERRESTRIAL AND CELESTIAL WORLD GLOBES On mahogany tripod stands. Made by Newton & Sons, 66+Chancery Lane, London, England, and dated January Ist, 1873. (2) TWO EIGHTEENTH CENTURY ENGLISH MAHOGANY ARM- CHAIRS Chippendale period. Arms carved with lion mask-heads held by carved supports ; legs carved at the knees in a scroll and leaf pattern; ball and claw feet ; seats and backs upholstered and covered in silk. (2) OLD ENGLISH PAINTED DAY BED | Scroll-shaped back and ends; frame painted in rose garlands and leaves on a green ground; painted scroll-shaped legs terminating in metal- mounted feet. Upholstered and covered in red denim; loose cushion seat and bolster pillow. KIGHTEENTH CENTURY ENGLISH SATINWOOD WINDOW SEAT Sheraton period. Scroll-shaped ends inlaid on either side in flowers and leaves ; rosetted dies; on square tapered legs inlaid in a fleur-de-lys pat- tern. 90 622 623 624 625 626 627 EIGHTEENTH CENTURY ENGLISH MAHOGANY CHEST Chippendale period. Plain mahogany top with carved scroll edge. Fitted with four drawers, with original brass drop handles; base carved in a beadwork design. On shaped and carved feet. EIGHTEENTH CENTURY ENGLISH LADY’S SATINWOOD WRITING TABLE Adam period. Top decorated with festoons of flowers; fall-down front with oval panel representing a female figure and a cupid; on octagonal tapered legs holding undershelf and supported by scroll feet. EIGHTEENTH CENTURY ENGLISH CARVED MAHOGANY TRIPOD TABLE Chippendale period. Oval top, fluted columnar support on three carved legs. TWO EIGHTEENTH CENTURY ENGLISH TORCHERES Hexagonal top supported by turned and tapered inlaid columns on tri- pod base, inlaid with flowers and leaves. (2) EIGHTEENTH CENTURY ENGLISH CARVED MANTEL MIR- ROR OF THE ADAM PERIOD Rectangular frame, headed by a panel painted with a motif of a tri- umphant Diana in maroon grisaille on a gold ground. The frame is gilded and composed of two leaf-carved fluted Corinthian pilasters crowned by an entablature with lion mask dies and a festooned key panel on a trellised frieze. EIGHTEENTH CENTURY ENGLISH WALNUT WINE COOLER Queen Anne period. Square shape, fitted with small drawer at base. On four small fluted legs. Shaped and moulded cover, surmounted by turned finial. Original copper liner and handles. oO! SALE THURSDAY AFTERNOON, FEBRUARY RECS) eee aoe U 628 629 630 631 632 633 FIFTH SESSION NUMBERS 628-780 OLD ENGLISH FURNITURE | 17TH, 18TH AND EARLY 19TH CENTURIES NUMBERS 628-686 SET OF OLD ENGLISH GREEN IVORY HANDLED CUTLERY Comprising 18 knives, with steel blades; carving knife and fork. (20) EIGHTEENTH CENTURY ENGLISH SMALL TRIPOD TABLE Chippendale period. Circular top with beaded edge on turned column, supported by three shaped legs carved at the knees and terminating in ball and claw feet. TWO EIGHTEENTH CENTURY ENGLISH MAHOGANY HALL CHAIRS Georgian period. Shaped backs carved on the top in a leaf design; rounded seats supported by turned tapering legs. (2) EIGHTEENTH CENTURY ENGLISH LADY’S ZEBRA-WOOD WORK TABLE Lift-up top fitted with small compartment, below which is a sliding work bag covered in original silk; supported by turned column on four scroll feet. EIGHTEENTH CENTURY ENGLISH LADY’S ZEBRA-WOOD WORK TABLE Lift-up top fitted with small compartments, below which is a_ sliding work bag covered in original silk; supported by turned column on four scroll feet. EIGHTEENTH CENTURY ENGLISH CARVED AND GILT WOOD MIRROR Queen Anne period. Shaped mirror plate; leaf and scroll carved frame surmounted by leaf-carved pediment. 93 634 635 636 637 638 639 640 641 642 EIGHTEENTH CENTURY ENGLISH MAHOGANY POLE SCREEN Adam period. Folding panel, interior decorated with figures and shell ; on turned column with three shaped feet. EIGHTEENTH CENTURY ENGLISH WALNUT WING CHAIR Queen Anne period. Legs carved at the knees in a shell design and terminating in club feet. Upholstered and covered in flowered brocatelle ; loose cushion. EIGHTEENTH CENTURY ENGLISH MAHOGANY CELLAR- ETE Chippendale period. Oval top with edge carved in flower and ribbon design; stand carved in shell and scroll style; supported by four tapered legs. EIGHTEENTH CENTURY ENGLISH MAHOGANY WRITING TABLE Hepplewhite period. Top with carved acanthus leaf edge. Carved dies; four square tapered legs carved with fleur-de-lys. Large drawer in centre and two smaller drawers on each side. EIGHTEENTH CENTURY ENGLISH MAHOGANY CORNER CHAIR « Hepplewhite period. Shaped and carved top rail supported by carved and fluted columns. On turned tapering legs. Seat covered in old leather. EIGHTEENTH CENTURY ENGLISH MAHOGANY ‘TIP-TOP TABLE Chippendale period. Shaped tray top on fluted column, supported by three curved and carved legs. EARLY NINETEENTH CENTURY ENGLISH BRASS FENDER Of an openwork design; on three claw feet. EIGHTEENTH CENTURY ENGLISH NEST OF FOUR TABLES Sheraton period. On turned spindle columns, supported by shaped feet. OLD FRENCH CARVED AND GILT WOOD SETTEE Shaped back with leaf carving; rounded ends; fluted scroll arm sup- ports; carved leaf front; on shaped legs. Upholstered and covered. 94 643 644 645 646 647 648 649 650 EIGHTEENTH CENTURY ENGLISH MAHOGANY CORNER CABINET Sheraton period. Surmounted by carved and fluted cornice; enclosed by glass doors; panelled top; base and sides with fluted moulding. EIGHTEENTH CENTURY ENGLISH CONSOLE TABLE Chippendale period. Top edge carved in a leaf and flower design; plain apron and sides; supported by square legs connected by fretwork-design spandrels. EIGHTEENTH CENTURY ENGLISH CARVED AND GILT WOOD MIRROR Adam period. Frame formed by fluted columns at sides, holding oblong panel with wreath and festoons of flowers in relief. EIGHTEENTH CENTURY ENGLISH MAHOGANY SOFA TABLE The top and legs inlaid with a single line of ebony. Straight pedestals and stretcher, terminating in plain brass feet. TWO OLD ENGLISH PAINTED ARMCHAIRS Carved armrests painted with a design of flowers and leaves in many colors on a coffee ground. Seats, backs and arms upholstered and cov- ered in a flowered material. (2) EIGHTEENTH CENTURY ENGLISH MAHOGANY CHEST OF DRAWERS Chippendale period. Top with carved leaf border; fitted with four drawers with original brass drop handles. On four carved block feet. EIGHTEENTH CENTURY ENGLISH MAHOGANY CIRCULAR LIBRARY TABLE Sheraton period. The apron is fitted with alternating square and tri- angular drawers with original brass ring handles. On columnar support resting on four spreading legs with brass claw feet. TWO VERY EARLY NINETEENTH CENTURY ENGLISH TER- RESTRIAL AND CELESTIAL WORLD GLOBES ON STANDS Stands composed of three turned and fluted columns supporting under- frame containing compass. By Cary, Strand, London, England, and dated 1818. (2) 95 651 652 653 655 656 657 oO ot oe) EIGHTEENTH CENTURY ENGLISH MAHOGANY WING CHAIR Chippendale period. On cabriole legs carved at the knees with a shell design; ball and claw feet. Upholstered and covered in a cream-colored silk. EIGHTEENTH CENTURY ENGLISH MAHOGANY GAMING TABLE 3 Chippendale period. Two hft-up tops, one forming a backgammon and chess board, the other a card table; fitted with one drawer; on cabriole legs carved at knees; club feet. EIGHTEENTH CENTURY MAHOGANY TWO-BACK SETTEE Chippendale period. Bow-shaped top supported by grooved and curved stiles, centre splat of an openwork design. On cabriole legs carved at the knees and terminating with ball and claw feet. Slip seat covered in silk damask. KIGHTEENTH CENTURY ENGLISH MAHOGANY TWO-FOLD SCREEN Chippendale period. Spindle legs supporting carvings in a Gothic de- sign; turned stretchers. EARLY ENGLISH OAK DINING TABLE 7 Top formed in sections and supported by six spiral legs connected by fluted understretchers ; ball feet. SIXTEENTH CENTURY FLORENTINE CUT AND UNCUT VELVET COVER Worked in an all-over pattern of large fleurettes in dark crimson on a light crimson and gold ground. Length, 9 yards 20 inches. TWO SEVENTEENTH CENTURY ENGLISH WALNUT SIDE CHAIRS William and Mary period. Shaped backs; square seats supported by turned legs connected by similar understretchers. (2) OLD FRENCH CARVED AND GILT Woop SETTEE Shaped cane back; rounded ends; front carved with rosettes; standing on turned and fluted legs. Seat and back upholstered and covered in silk brocade. | 96 659 660 661 662 663 664 665 EIGHTEENTH CENTURY ENGLISH FOUR-FOLD LEATHER SCREEN Painted with a design of dolphins, scrolls, birds, fruit and flowers on a gold ground. EIGHTEENTH CENTURY ENGLISH CARVED WOOD AND PAINTED LEATHER CHEST ON STAND The top decorated with a design of fruit and flowers on a black ground, with edge studded in brass nails; the front formed by an oblong panel painted in a similar design and encircled by a carved wood and gilt frame; above is a panel of a vase with festoons of flowers and an urn in relief, enclosing keyhole. Rosetted dies, below which are mask heads, scrolls and cornucopie holding flowers in carved and gilt wood. The sides painted in a manner similar to that of the front; with original brass drop handles. On a stand with carved leaf edge, supported by hons’ feet. EIGHTEENTH CENTURY ENGLISH MAHOGANY CABINET ON STAND Sheraton period. ‘Top composed of one large and two small cupboards enclosed by panelled doors inlaid with bands of satinwood and _ sur- mounted by fan-shaped pediment. Stand decorated in a similar manner ; on four square tapered legs. KIGHTEENTH CENTURY ENGLISH MAHOGANY DINING TABLE Hepplewhite period. ‘Top with moulded and ribbon-carved edge. Com- posed of two ends and one leaf supported by square tapering legs with points carved with husk motif. SET OF SIX EIGHTEENTH CENTURY ENGLISH MAHOGANY SIDE CHAIRS | Hepplewhite period. Shaped top rail and sides carved with fleurs-de-lys. Centre panels composed of carved and fluted splats. On square tapered legs. Loose cushion seats covered in pink silk. (6) OLD ENGLISH MAHOGANY CELLARETTE Circular top with fluted edge. Stand supported by turned tapering legs. FIGHTEENTH CENTURY ENGLISH MAHOGANY CONSOLE TABLE Chippendale period. Plain top; front and sides carved in a scroll and shell design; on cabriole legs carved at knees; claw feet. o7 666 667 668 669 670 671 672 EIGHTEENTH CENTURY ENGLISH MAHOGANY CONSOLE TABLE Chippendale period. Top edge carved in acanthus leaves; plain apron and sides; supported by four cabriole legs carved at the knees and ter- minating in carved club feet. TWO EIGHTEENTH CENTURY ENGLISH CRYSTAL MIRROR APPLIQUES Georgian period. Rectangular frame with shaped pediment painted in eglomisé with scrolls and flowered vases in gold on a sapphire-blue ground, fitted with two crystal glass candle brackets which are furnished with blue and white crystal drops and pendants. (2) EIGHTEENTH CENTURY ENGLISH MAHOGANY POLE SCREEN Chippendale period. Needlework panel representing a two-handled urn and flowers on a black ground; turned and fluted column on three legs carved in a floral and fretwork design. SEVENTEENTH CENTURY ENGLISH PAINTED WOOD HALL SEAT Shaped back; scroll shaped arms and supports, all carved in a leaf, fruit, flower and scroll design. Ribbon and leaf-carved panel. EIGHTEENTH CENTURY ENGLISH MAHOGANY SIDE TABLE Chippendale period. Plain mahogany top with leaf and shell carved edge; apron and side carved in a Gothic design; supported by legs of an arch-shaped fretwork design, connected by carved scroll spandrels. EIGHTEENTH CENTURY ENGLISH CARVED AND GILT WOOD MIRROR Chippendale period. Shaped mirror plate, with shell-carved frame; on either side are wreaths of fruit, flowers, and leaves, below which are leaf and scroll carvings; surmounted by a shell-carved pediment with fretted scroll carvings on either side. SET OF SIX OLD ENGLISH MAHOGANY HALL CHAIRS Panelled top rail supported by fluted columns with centre panel in geo- metrical design. Square seat on four fluted tapered legs. (6) 98 674 675 676 677 678. 679 TWO EIGHTEENTH CENTURY ENGLISH CARVED AND GILT WOOD PEDESTALS Adam period. Square tops supported by fluted tapering columns. In the centre is a cupboard enclosed by a door with an urn carved in relief, decorated with rams’ heads holding festoons of flowers. Square base with moulded edge. (2) EIGHTEENTH CENTURY FRENCH PAINTED AND CARVED WOOD CHAISE LONGUE Louis Seize period. Shaped moulded base carved in a leaf design; curved scroll arms on shaped supports; oval seat carved similarly to the back; on carved and fluted legs. EIGHTEENTH CENTURY ENGLISH PAINTED DRESSING CABINET Adam period. Fitted with small and large drawers and a small cup- board in the centre; the whole painted in a flower design on a coffee ground. Supported by spindle legs. ENGHTEENTH CENTURY ENGLISH MAHOGANY NEST OF TABLES Oblong top, supported by two spindle columns on shaped legs. EIGHTEENTH CENTURY ENGLISH MAHOGANY WING ARM- CHAIR Hepplewhite period. On square tapered legs carved in a leaf design; upholstered and covered in a cerise damask. EIGHTEENTH CENTURY ENGLISH MAHOGANY CARD TABLE Sheraton period. Lift-up top inlaid with bands of satinwood; front and sides inlaid in a similar manner; on square tapered legs. SET OF SIX EIGHTEENTH CENTURY ENGLISH MAHOGANY CHAIRS Chippendale period. On square legs carved in a fretwork design sup- ported by three stretchers; fretwork spandrels; seats and backs up- holstered and covered in old English gros point, worked in a wheel pat- tern design of many colors. (6) 3° 680 681 682 683 EIGHTEENTH CENTURY ENGLISH MAHOGANY FOUR-BACK SETTEE Chippendale period. Shaped backs formed by fretted and carved arch; top rail and moulded centre rail, on carved supports; scroll-shaped arms on fluted columnar armrests and panelled in an arched manner. Apron and sides carved in a Gothic design; rosetted dies; on turned and fluted tapering legs. Cane seat with loose down cushion covered in striped red silk. EIGHTEENTH CENTURY ENGLISH MAHOGANY PEDESTAL WRITING DESK Chippendale period. ‘Tooled red leather top, the edge carved with a ribbon and rose motif. Each side fitted with a centre drawer, the left pedestal with four drawers, and the right pedestal with a drawer and cupboard below. The whole supported on plain bracket feet. SET OF SIX EIGHTEENTH CENTURY ENGLISH MAHOGANY CHAIRS Chippendale period. On square legs carved in a fretwork design sup- ported by three stretchers; fretwork spandrels; seats and backs uphol- stered and covered in old English gros point, worked in a wheel pattern design of many colors. (6) KIGHTEENTH CENTURY ENGLISH MAHOGANY BOOKCASE Chippendale period. The top part composed of one large and two small cabinets enclosed by panelled glass doors in an arched Gothic design sur- mounted by moulded cornice; lower part, with fluted edge, composed of one large and two small cupboards enclosed by panelled doors, set in moulding, with carved rosettes in corners; standing on moulded base supported by scroll feet. [SEE ILLUSTRATION | 100 ie oe EIGHTEENTH CENTURY ENGLISH MAHOGANY CHIPPENDALE PERIOD [ 683 | BOCKCASE 684 685 686 EIGHTEENTH CENTURY ENGLISH MAHOGANY SOFA- TABLE Sheraton period. The top, inlaid with bands of satinwood, is supported on two lyre-shaped uprights joined by shaped bracket. The legs termi- nate in brass claw feet. The apron is fitted with two small drawers with mahogany knobs. SEVENTEENTH CENTURY SPANISH DAMASK COVERLET Worked in a design of conventionalized flowers, scrolls, and leaves on a two-tone salmon-color ground. Length, 11 yards 1 foot. SET OF SIX EIGHTEENTH CENTURY ENGLISH SIDE CHAIRS AND ONE ARMCHAIR Oval backs with centre panel inlaid with flowers and birds; front and sides similarly inlaid; shaped fluted legs; seats upholstered and covered in green velvet. (7) EARLY AMERICAN FURNITURE NUMBERS 687-700 ¢ Tue following objects were recently acquired by Mr. Henry Symons while travelling through Northern New York and the New England States. They illustrate admirably the independence of thought characteristic of the Ameri- can cabinet maker, and his comely transformation of earlier English models. 687 688 OLD COLONIAL SETTEE Shaped back with two scroll ends. On four scroll-shaped legs. Uphol- stered and covered with green. AMERICAN SOFA IN MAHOGANY Covered with black haircloth, upholstered frame, with bow-shaped round moulding, the ends of which are carved in rosette form. ‘The seat is upholstered, with arms at each end rounded so as to accommodate two round cushions. The legs are beautifully carved, with extended carved brackets, and terminate with paw feet. Adam period. Satinwood lift-up top; front panel and sides painted in a flower and scroll pattern; on four turned legs decorated in a simi- lary manner. EIGHTEENTH CENTURY ENGLISH CARVED WOOD AND GILT SETTEE Adam period. Shaped back with leaf and ribbon carving in centre; rounded ends; scroll arms on curved arm supports; shaped fluted apron supported by turned, fluted tapering legs. Upholstered and covered in rose silk damask; loose cushion seat. TWO EIGHTEENTH CENTURY ENGLISH DIRECTOIRE WIN- DOW SEATS On gracefully shaped and fluted C-scrolled supports; incurved seat, fur- nished with four boldly spreading carved and gilded eagle-head arm- rests and carved gilt pendants painted black and heightened with gold. (2) PAINTED MUSIC ROOM OF THE EARLY NINETEENTH CEN- TURY Composed of sixteen panels. Twelve uprights occupied by the outstand- ing figures of Greek goddesses and genre figures, with two panels bearing, in addition, groups of allegorical putti, and four overdoors painted with children and amorini in blue green landscapes. All these decorations are painted in brilliant colors in the style of the Classicist revival, on panel, in the original gilded oak mouldings. Size of the twelve panels, 4 feet 4 inches x 1 foot 11 inches each. Size of the overdoors, 1 foot 10 inches x 2 feet 9 inches each. EIGHTEENTH CENTURY ENGLISH PAINTED FOUR-BACK SETTEE Adam period. Square backs with top rails painted in grisaille represent- ing cupids at play; side rails formed by turned columns painted in flow- ers and leaves; spindles of a similar design; shaped arms supported by turned armrests; front dies painted with fleur-de-lys. Standing on turned tapering legs painted in a similar manner. Loose cushion seat covered in cream-colored satin. BES eae Or or ~} St ~) =f Or oa) 760 EIGHTEENTH CENTURY ENGLISH SATINWOOD COMMODE Adam period. Semicircular shape; top painted with band of flowers with outer band of harewood; fitted with one large drawer and two dummy drawers; brass drop handles with bone keyholes; underpart enclosed by two concave doors, oval panel painted with bouquets of flowers; two com- partments on each side fitted with five drawers and shelves and enclosed by two similar doors; the whole inlaid with bands of harewood. TWO EIGHTEENTH CENTURY ENGLISH PAINTED POLE SCREENS Adam period. Pole painted in a design of flowers; holding a shield- shaped panel decorated in the centre with an urn and surrounded by scrolls. Supported by turned column standing on three cabriole legs painted in a similar manner. (2) EIGHTEENTH CENTURY ENGLISH PAINTED CABINET Adam period. In two portions, the lower enclosed by one panelled door painted in a design of oriental figures and views, with turned columns at each side. Returns painted in a similar manner. The top part com- posed of a cabinet and four drawers enclosed by two panelled doors with turned columns at either side.. Doors and returns decorated in a similar manner to the bottom. EIGHTEENTH CENTURY ENGLISH CARVED AND PAINTED WOOD MANTEL MIRROR ; Adam period. Centre composed of a convex mirror surrounded by leaf- carved border and flanked by oblong mirror plates with fluted pilasters and headed by richly carved capitol enrichments on either side; sur- mounted in the centre by a carved and gilt panel representing dancing female figures; on either side are festoons and musical instruments. Moulded cornice. TWO EIGHTEENTH CENTURY ENGLISH CARVED AND PAINTED WOOD PEDESTALS Georgian period. Square tops with beaded and flowered edges; on shaped tapered columns with intricate scroll and shell carvings in relief. On moulded bases. (2) EIGHTEENTH CENTURY KNEEHOLE SATINWOOD DESK Adam period. Top with classical figure painted on each side. Fitted with ten small drawers and one large drawer painted with festoons of flowers. Kneehole with door enclosing cupboard painted in a similar manner. 116 761 763 764 765 766 SET OF FOUR EARLY NINETEENTH CENTURY ENGLISH SIDE CHAIRS AND ONE ARMCHAIR Backs formed by turned and fluted shaped top rail and two shaped under rails holding cane panels; cane seats with cushions covered in old chintz. (5) EARLY NINETEENTH CENTURY ENGLISH PAINTED COR- NER CUPBOARD Hanging cupboard enclosed by two convex doors painted in a design of draped figures in flowing robes of bright colors. EIGHTEENTH CENTURY ENGLISH SATINWOOD ROLL-TOP DESK Adam period. Cylindrical top. The interior fitted with small drawers and compartments; pull-out writing slide; lyre-shaped supports, con- nected by carved understretcher. On shaped legs. TWO EIGHTEENTH CENTURY ENGLISH SATINWOOD ARM- CHAIRS Chippendale period. Backs in the form of Chinese latticework, sur- mounted by pagoda-shaped top rail; on square legs. Seats covered with gros and petit point needlework in a floral design worked in bright colors. (2) EIGHTEENTH CENTURY ENGLISH PAINTED SETTEE Adam period. Back formed by shaped top rail with fretwork splats in a Gothic design; painted with flowers on a coffee ground. Shaped arms on scroll supports with panels similar to the back. On square tapered legs painted in a beaded design. EIGHTEENTH CENTURY ENGLISH SATINWOOD COMMODE Adam period. Top part has an oval inlaid panel representing urn with inlaid scrolls and drapings. Border inlaid in a similar manner with mahogany edge. Underpart enclosed by two concave panelled doors inlaid with oval medallions of urns with flowers and drapings; sides have mahogany inlays; on four shaped feet. LT 767 EIGHTEENTH CENTURY ENGLISH SATINWOOD BOOKCASE Adam period. Upper part composed of a cabinet enclosed by two glass doors, the frames of which are inlaid with a fleur-de-lys on a satinwood ground; sides inlaid with bands of kingwood surmounted by shaped cornice inlaid with floral sprays, below which, in the front and at the sides, are rams’ heads holding festoons of leaves; inlaid in various woods on a satinwood ground. The stand inlaid on the top with an oval medallion set in reserve by leaf scrolls representing a manuscript with a view of Dumbarton Castle. Below are two long drawers inlaid with floral and leaf scrolls; dies inlaid in a similar manner; on square tapered legs inlaid in the centre with fleur-de-lys and surrounded by a narrow kingwood border. [SEE ILLUSTRATION ] 118 EIGHTEENTH CENTURY ENGLISH ADAM SATINWOOD BOOKCASE [767] EARLY EIGHTEENTH CENTURY ENGLISH SIX-FOLD LEATHER SCREEN [768] (68 EARLY EIGHTEENTH CENTURY ENGLISH PAINTED SIX- FOLD LEATHER SCREEN Queen Anne period. Each panel painted in three tiers with bird sub- jects, hunting and genre scenes in brilliant colors on a gold ground. Framed in tooled leather binding and studded with nails. [SEE ILLUSTRATION | 120 769 = =~ So T12 775 EIGHTEENTH CENTURY ENGLISH MAHOGANY SECRE- TAIRE-BOOKCASE Chippendale period. Upper part enclosed by two panelled doors sur- mounted by scroll and shell-carved cornice. Lower part with drop front secrétaire fitted with drawers and compartments. Below are four large drawers. SET OF FIVE EIGHTEENTH CENTURY ENGLISH PAINTED ARMCHAIRS Adam period. Backs formed by shaped top rail supported by straight side rails with cross splats painted in leaves on a coffee ground; shaped arms on scroll supports; fronts and sides painted in a flower and leaf design; floral dies; on square tapered legs painted in beaded style. (5) TWO EIGHTEENTH CENTURY ENGLISH SATINWOOD ARM- CHAIRS Adam period. Shield-shaped back with curved splats painted with bou- quets of flowers; curved arms on shaped armrests; on square tapering legs painted in a floral design. Seats upholstered and covered in red silk damask. (2) SET OF EIGHT EIGHTEENTH CENTURY ENGLISH PAINTED AND CARVED WOOD CHAIRS Adam period. Square moulded backs carved in a leaf design. Front and sides carved in a similar manner. Rosetted dies on square fluted tapering legs. (8) TWO ENGLISH POLE SCREENS Adam period. ‘Triangular base carved in a leaf and geometrical pattern supporting column which holds oval panel decorated in flowers. (2) EIGHTEENTH CENTURY .ENGLISH SATINWOOD ROLL-TOP DESK Adam peried. Cylindrical top painted in a design of flowers. Scroll interior fitted with small drawer and compartment and one cupboard enclosed by door, which is painted in a similar manner; below are three long drawers; standing on square tapered legs. TWO EARLY NINETEENTH CENTURY ENGLISH TERRES- TRIAL AND CELESTIAL WORLD GLOBES Supported by turned column en three shaped legs. By Cary, London, England. Dated 1816. (2) EIGHTEENTH CENTURY ENGLISH MAHOGANY WING CHAIR Chippendale period. On square legs carved in a Gothic design. Up- holstered and covered in English crewel work on blue ground. 121 SUPERB GEORGIAN PIPE ORGAN WITH PAINTED PANELS BY BENJAMIN WEST, R.A. FORMERLY OWNED BY LORD LOVELACE. EIGHTEENTH CENTURY ENGLISH PIPE ORGAN WITH PAINTED PANELS BY BENJAMIN WEST, R.A. Of the period of George III. Upright domed circular case of heroic proportions. On a circular moulded bronze base inlaid with a par- queterie flooring of ebony and bone triangles. ‘The body is composed of a sturdily moulded plinth of ebony with members of bronze and marble, and a circular case holding a system of pipes, a turned wheel system’ and a roll. There are two lever handles finely chased with rose petals. The exterior of the case is flanked by four panelled brackets enriched with superbly chiselled ribbon swags and voluted floral arabesques of ormolu. ‘The sound doors are covered with fretted arabesques, musical emblems, mascarons, and festooned urns in an all-over pattern of richly gilded ormolu. The case is headed by a broad entablature of ebony enriched with Greek leaf ornaments in bronze and crested by four alle- gorical bronze figures depicting the phases of Music; upon this is placed an eight-sided cabinet with chamfered corners of double Corinthian fluted columns standing free, with brass and ebony entablature, topped by oriflamme urn finials, flanking arched panels painted on copper depicting the stories of the power of Music, expressed in incidents from the lives of Young David, Ulysses, Arion and Orpheus, in brilliant tones of draperies and soft flesh tints with backgrounds of sky-blue. The top is again enriched with fretted floral arabesques and crowned by a pierced dome, surmounted by a temple of eight slender Corinthian columns with festooned frieze and fretted baluster plinth, and crowned on the very top by a figure of the Flying Mercury after Gian Bologna. (From Lord Lovelace) 178 7784 778B 778D 778 779 780 NINETEENTH CENTURY ENGLISH NEEDLEWORK FIVE- FOLD SCREEN Each fold is divided into four panels representing birds, fruit, flowers and figures. LWO EIGHTEENTH CENTURY MAHOGANY HALL CHAIRS Adam period. Shield-shaped backs. Carved at the top in scrolls and ram’s head. Oval medallion in centre with urn. Shaped fluted front; rosetted dies; on square tapered legs. (2) EIGHTEENTH CENTURY ENGLISH MAHOGANY LADY’S WRITING TABLE Chippendale period. Top with carved edge; fitted with one drawer and interior writing compartment. Original brass knob. On four square tapered legs. EIGHTEENTH CENTURY ENGLISH OVERMANTEL Adam period. Upper part composed of a painting representing four amorini at play; below are two small and one large mirror plates ; sur- mounted by gilt moulded frame. EIGHTEENTH CENTURY ENGLISH SATINWOOD CONSOLE TABLE Adam period. The top has green floral and scroll border; front has inlaid harewood panel in a scroll design; supported by four square tapering legs. EIGHTEENTH CENTURY ENGLISH CONSOLE TABLE Adam period. Top painted with musical trophies and garlands of roses, with border painted in a floral design; fluted apron and sides; carved gilt rosetted dies; four fluted tapering legs. TWO EIGHTEENTH CENTURY ENGLISH MAHOGANY KNIFE BOXES Sheraton period. Cover inlaid with oval panel of a shell design in satin- wood. Shaped and fluted front with satinwood inlay. (2) EARLY NINETEENTH CENTURY ENGLISH BRASS FENDER Fluted and openwork design, standing on three shaped feet. 123 SALE THURSDAY EVENING, FEBRUARY HIRD Lea Le O8s16 SIXTH SESSION NUMBERS 781-909 Tue development and achievements of the British N avy could probably not be more emphatically expressed than by the contemporary models, prints and paintings in this collection. With the interest in the navies of bygone years just reaching the stage of seriousness manifested by the formation of private collections and associations to develop the study of marine history still further, the rare examples shown are sure to evoke unusual attention and comment. Never before has a collection of such quantity or quality been offered at public sale. This miniature fleet consists of some fifty models, comprising every stage of modelling and construction, from the very highest type of Admiralty designer’s model to the work of the common seaman. ‘The Ad- miralty model of the British man-of-war “Isis,” famed for her engagements with American ships during the War of 1812, the fine early walnut Dutch man-of-war, the original designer’s model of the British fighting sloop “Reckless,” figure among the gems of the collection. The bone models con- structed by the French prisoners of war in the English prisons during the Napoleonic struggles are represented in the form of frigates, sloops, second and third raters. In addition, there are many models in wood of the brig and clipper types. The canvasses depicting engagements with the Dutch and French are by the most famous naval artists produced by England in the eighteenth century. Here we have Nicholas Pocock, Arthur and Richard Paton, Holman, Butter- worth, Monamey and Serres. These artists in their individual striking manner have portrayed actions which they have either themselves witnessed, or which have been painted from contemporary sketches. Many fine prints, some in colors, go far to round out the detailed actions memorable in British naval annals. NAVAL AND MARINE PRINTS NUMBERS 781-800 781 ADMIRAL NELSON Tue Rewarp or Covracr, or Nelson Triumphant. Tue Hazarps or War, or Nelson Wounded. Four lines of verse beneath each title. Mezzotints in color. Published, London, November 24, 1798, by J. Fairburn. Folios. Framed. (2) 125 | 788 784 785 786 LORD NELSON Baron Nelson of the Nile; and of Burnham Thorpe in the County of Norfolk. Four lines of tribute under title. Mezzotint. Published, London, Oct. 13, 1798, by John Fairburn. Small upright folio. Framed. AMERICAN SHIP “OCEAN MONARCH” Destruction of the American Emigrant Ship “Ocean Monarch,” Aug. 24, 1848. Tinted lithograph by Maclure, Macdonald and Macgregor. Published, Liverpool, 1848. Folio. Framed. ENGLISH AND FRENCH FLEETS IN THE BALTIC, 1854 Senpinc oN Boarp THE ADMIRAL FOR LETTERS AT SEA. MEETING OF THE ENGLISH AND FreNcH FLEETS OFF Baro ScuND, JUNE 13, 1854. Encusu Furer Enrertnc THE Great Beit, Marcu 24, 1854. Bomarsunp, ComBineD ATTACK ON THE Forts, Ave. 15, 1854. O. W. Brierly, del. J. Needham, Lithographer. Shipping by Dutton. Colored lithographs by Day & Son, lithographers to the Queen, London, 1855. Large folios. Framed. (4) ENGLISH AND FRENCH FLEETS IN THE BALTIC, 1854 VESSELS OF THE FRENCH ImpEeRiIaAL Navy MAannine anp ArMING Boats, Baro Sounp. Tue FLeets BEcALMED. Screw SHIPS GETTING STEAM UP. First Destruction oF Bomarsunp. Biowrnce ve Matn Fort Sept. 2, 1854. Her Magsesty’s Suirs “Arrocant,”’ Carr. H. R. YELVERTON, AND “Hecua,” Capr. W. H. Harr, DEstroyinc THE BATTERIES AT ECKNEsS. May 20, 1854. O. W. Brierly, del. J. Needham, Lithographer. Shipping by Dutton. Colored lithographs by Day & Son, lithographers to the Queen, London, 1855. Large folios. Framed. (4) ENGLISH AND FRENCH FLEETS IN THE BALTIC, 1854 THE FLEET oFF Haneco. A Gate In THE Bautic. THE FLEET PROVISIONING AT SEA. H. M. S. “Driver” anp Yacuts “GonpoLta” anp “ESMERALDA” OFF CRONSTADT. O. W. Brierly, del. J. Needham, Lithographer. Shipping by Dutton. Colored lithographs by Day & Son, lithographers to the Queen, London, 1855. Large folios. . Framed. (4) 126 (87 788 789 790 791 NAVAL PRINTS H. M. 8. “Coriinewoop,” 80 Guns. H. M. S. “Inconstanrt,” 36 Guns, AT Rio JANEIRO. THE FLeret BEcALMED Crossinc THE LINE. H. M.S. “Neprune,” 120 Guns. H. M.S. “Sr. Georce.” Tinted lithographs by Day & Son, London. Folio. Framed. (3) NAVAL PRINTS THE BoMBARDMENT oF Atcrers, Auc. 27, 1816. Painted by Whitcombe. Colored engraving by T. Sutherland. A View oF THE UNPARALLELED Action Foucut Ocr. 1, 1807. Painted by Whitcombe. Colored aquatint by J. Harraden. Folios. Frame. (2) NAVAL PRINTS TAKING OF THE “ST. JOSEPH,’ 23, 1789. Painted by P. Monemie. Line engraving by R. Farr. H. M. S. rHe “BLENHEIM.” Painted by Baston. Laine engraving by E. Kirkall. > a SPANISH CARRACCA SHIP. SEPTEMBER A Suir on Fire. Painted by W. Vanderveld. Mezzotint by R. Houston. Folios. Framed. (38) NAVAL PRINTS ARRIVAL OF GENERAL Baracuay D’Hiuuiers ar LEDsuND. H. M. S. “Hicuruier,” Carr. Joon Moore. O. W. Brierly, del. J. Needham, Litho. Colored lithographs by Day & Son, London, 1854. Cutter Yacut “CHALLENGER,” 22 Tons. T. G. Dutton, del. Lithograph by Day & Son, London. Folios. Framed. (3) E NAVAL PRINTS A GALE IN THE Batric. O. W. Brierly, del. J. Needham, Litho. Colored lithograph by Day & Son, London, 1855. Tue ATrack oF THE “VANGUARD” (CoMMANDED By Sir Wm. WINTER) ON THE SpANisH ArmapDA, Aue. 8TH, 1588. Oswald W. Brierly, del. Line engraving by A. Willmore. DEFENCE OF GIBRALTAR, SEPT. 13, 1782. Rich. Paton. Line engraving by James Fittler. Folios. Framed. (3) 127 792 793 794 T94A NAVAL PRINTS Sir Rrcuarp STRACHAN’s Action, NOVEMBER 4TH, 1805. Painted by T. Whitcombe; colored aquatint by J. Jeakes, London, 1816. Lorp Bripport’s AcTIon OFF Porr L’ORIENT, JUNE 25RD, 1795. Painted by T. Whitcombe; colored aquatint by J. Bailey. Sir Rosert Cauper’s Action, JuLtyY 22nd, 1805. Colored aquatint by T. Sutherland. Battie ofr Care Sr. Vincent, Fesy. 147TH, 1797. Colored aquatint by J. Bailey. Lorp Horuam’s Action, Marcu 147TH, 1795. Colored aquatint by T. Sutherland. Sir J. T. DuckwortH’s Action oFF St. Dominco, Fresy. 6TH, 1806. Colored aquatint by T. Sutherland. Small folios. Framed. (6) NAVAL PRINTS Parr—DEFEAT OF A SQUADRON OF SPANISH SHiIps UNDER COMMAND OF Don Juan vE Lancarn sy H. M. 8S. Suips orr Caps Vincent, 16TH Jany., 1780. Painted by Richard Paton. Line engravings by Lerpiniere. Batrue oF La Hocuet. Painted by Benj. West. Engraved by Woollett. London, 1781. THe REuiEF oF GisraLtar, 1782. Painted by Paton. Engraved by Lerpiniere. Folio. Framed. (4) NAVAL PRINTS BaTTLe OF THE NILE. Colored Aquatint. Virw oF THE ATTACK MADE AT ALGIERS BY THE BritrisH SQuapDRON, 29TH oF Auve., 1816. Painted by Carlo Cominatti. Aquatint by Giovanni Silvestre. Takinc or THE “Marauese DE ANTIN” ann “Louis ERASME” BY THE “PRINCE FREDERICK” AND “DuKE,” PRIVATEERS. Painted by Brooking. Line engraving by Ravencet. Folios. Framed. (3) NAVAL PRINTS THe “NEtson” Two engravings, one showing her in the ways, and the other, the launch- ing. Drawn by L. Francia. Engraved by W. B. Cooke. Published, London, 1815. Small folios. Framed. (2) 128 71948 NAVAL PRINTS 795 796 797 798 729 ENeuisH Cutter ““ENTREPREMANTE” Encacinc Four SHIPS OF THE FrencH Navy orr CastLe Ferro, DEcEMBER 12th, 1810. Colored aquatints by George Andrews. Large folios. Framed. (2) NAVAL ARCHITECTURE The original plate No. XI for the Naval Architecture. The centre displaying complete stern view of a ship of the line flanked by bow and stern view of the ship “George IV.” In color, in oval frame. Height, 17 inches; width, 24 inches. LIBER NAUTICUS An Instructor in the Art of Marine Drawing, by Dominick Serres, R. A., and John Thomas Serres. Parts 1 and 2. Published, London, 1805. Contains 17 engraved plates. Folio. YACHTS Tue Currer Yacut “Cynruia,” 150 Towns. Painted by N. M. Condy. Colored lithograph by T. G. Dutton. Pub- lished, London, 1850. THe ScHooner Yacut “ANACONDA.” Painted by N. M. Condy. Colored lithograph by T. G. Dutton. Pub- lished by Day & Haghe, London, 1850. His Masesty’s Sure “Panvora,” FatMoutTH PACKET. Painted by N. M. Condy. Lithograph by G. Hawkins. Published by Day & Haghe, London, 1843. Folios. Framed. (3) YACHTS Bric Yacut “WANDERER.” Painted by C. W. Brierly. Colored lithograph by Day & Haghe. Iron Yacut “Mystery.” Painted by N. M. Condy. Colored lithograph by Day & Haghe. Cutter Yacut “Cycnet.” Painted by C. W. Brierly. Colored lithograph by Day & Haghe. Tue “Museuiro” Yacut, Breatinc THE “CyNTHIA” AND “CYGNET.” Painted by W. A. Knell. Lithograph by T. G. Dutton. Published by Day and Son, London, 1851. Folios. Framed. (4) THE SCHOONER YACHT “AMERICA” Formerly the property of Commodore J. C. Stevens, New York Yacht Club. Colored lithograph by Day & Son after the painting by T. G. Dutton. Published, London, by Ackerman, 1851. Folio. Framed. The English print of the Yacht “America” is seldom seen and is by far the scarcest of the six known published folio prints. 129 800 8004 SO0OB 801 SET OF FOUR CONTEMPORARY FRENCH WATER-COLOR DRAWINGS BucuicaM DE 66 Canons Bate Tres VAxELLs FRANCESOs. Batratta Entre Tres Vaxetis [NciEsos y Set FRANcESos, y LOS Unutims Foren Batots. CirI DE QUEBEC PAR LOS INGLESOS. DESEETA DE UNA EsQquapRA FRANCESA, PAR UNA Esquapra INGLESA, 19 Acost 1759. Contemporary water-color drawings. Artist unknown. Depicting sev- eral incidents of the early naval engagement between France and Great Britain. (4) Height, 14 inches; width, 21 inches. “BELLEROPHON” Off Egmont, March, 1811. Hobeley Bay, June 4th, 1812. Original water-color drawing, artist unknown. Small folios. Framed. (2) The “Bellerophon” became famous as the ship which transported Napo- leon to his exile. THE BATTLE OF SOLEBAY (OR SOUTHWOLD BAY), SUF- FOLK, MAY 28TH, 1672 A series of ten water-color and crayon sketches on vellum, linen-backed, delineating the various incidents and battle formation of the two navies. Long panels containing various sections. A very interesting contemporary series describing authentically one of the fiercest naval battles of the seventeenth century. ‘The English and French, commanded by the Duke of York, afterwards James II, attacked the Dutch fleet. Many were killed or wounded and later the enemy fled. THE RARE MARINE SERIES IN COLOR AFTER THE FAMOUS PAINTINGS BY DOMINICK SERRES, R.A. NUMBERS 801-813. A SNOW, WITH A VIEW OF THE SOUND AND NEW STONE A YACHT IN A LIGHT BREEZE WITH A VIEW OF HARWICH The “Queen Charlotte” Yacht with her present Gracious Majesty on Board. Pair of colored aquatints. Edw. Orme, excudit. J. Clark & J. Hamble, sculp. Published, London, 1807. Folios. Framed. (2) 130 802 803 804 805 S06 807 S08 809 A SLOOP OF WAR WITH A VIEW OF OLD HARRY IN STUD- LAND BAY A BEAN COD WITH A VIEW OF BELEM CASTLE ON THE RIVER TABUS Pair of colored aquatints. Edw. Orme, excudit. J. Clark and J. Hamble, sculp. Published, London, 1807. Folio. Framed. (2) A DUTCH GALLIOT, WITH A VIEW OF AMSTERDAM A DUTCH FISHING BOAT WITH A VIEW OF HELVOIT SLUYS Pair of colored aquatints. Edw. Orme, excudit. J. Clark and J. Hamble, sculp. Published, London, 1807. Folio. Framed. (2) A SHIP OF THE LINE IN THE DOWNS A SETTEE WITH A VIEW OF THE LIGHT HOUSE AT GENOA Pair of colored aquatints. Edw. Orme, excudit. J. Clark and J. Hamble, sculp. Published, London, 1807. Folio. Framed. (2) A 90 GUN SHIP AT SPITHEAD Colored aquatint. Dom’k. Serres, R. A. del. Edw. Orme, excudit. J. Clark & J. Hamble, sculp. Published, London, 1807. Folio. Framed. A FIRST RATER: THE PORTRAIT OF THE “ROYAL GEORGE” A CHASSE-MAREE, WITH A VIEW OF THE CITADEL OF PALAIS AT BELLEISLE Pair of colored aquatints. Edw. Orme, excudit. J. Clark & J. Hamble, sculp. Published, London, 1807. Folio. Framed. (2) A LUGGER, WITH A VIEW OF THE EDDYSTONE LIGHT HOUSE A BERMUDIAN SLOOP WITH A VIEW UPON THE SPANISH MAIN ) Pair of colored aquatints. Edw. Orme, excudit. J. Clark & J. Hamble, sculp. Published, London, 1807. Folio. Framed. (2) A BOMB KETCH IN THE SOUND A FRIGATE WITH A VIEW OF THE NEEDLES Pair of colored aquatints. Edw. Orme, excudit. J. Clark & J. Hamble, sculp. Published, London, 1807. Folios. Framed. (2) A CUTTER, WITH A VIEW OF SOUTH SEA CASTLE A SLOOP WITH A VIEW OF CALSHOT CASTLE Pair of colored aquatints. Edw. Orme, excudit. J. Clark & J. Hamble, sculp. Published, London, 1807. Folios. Framed. (2) 131 810 §11 813 814 815 A COLLIER, WITH A VIEW OF THE SOUTH FORELAND A CALM WITH THE ENTRANCE INTO PORTSMOUTH Pair of colored aquatints. Edw. Orme, excudit. J. Clark & J. Hamble, sculp. Published, London, 1807. Folios. Framed. (2) A POLACCA, WITH A VIEW OF STROMBOLI A NEAPOLITAN GALLEY AT ANCHOR OFF THE CASTELL VECCHIO, LEGHORN Pair of colored aquatints. Edw. Orme, excudit. J. Clark & J. Hamble, sculp. Published, London, 1807. Folios. Framed. (2) A TARTON, WITH A VIEW OF EUROPA POINT, GIBRALTAR A CHEBECK OR XEBEC, WITH A VIEW OF THE LIGHTHOUSE ON THE MOLE AT NAPLES Pair of colored aquatints. Dom. Serres, del. J. Clark and J. Hamble, sculp. Edw. Orme, excudit. Published, London, 1807. Folios. Framed. (2) A SCHOONER, WITH A VIEW OF NEW YORK, 1807 Colored aquatint. Edw. Orme, excudit. J. Clark & J. Hamble, sculp. Published, London, 1807. Folio. Framed. Rare. MARINE AND NAVAL PAINTINGS BY THE ENGLISH MASTERS OF THE EIGHTEENTH CENTURY NUMBERS 814-837 THOMAS BUTTERWORTH ENGLISH, EIGHTEENTH CENTURY THE BRITISH MAN-OF-WAR “TIGER” In full sail leaving the shore of Liverpool. Canvas. Height, 10 inches; length, 14 inches. THOMAS BUTTERWORTH ENGLISH, EIGHTEENTH CENTURY A DUTCH SLOOP-OF-WAR OF TWENTY GUNS Before the wind with an English Frigate passing. The white cliffs of Dover in the distance. The artist has well portrayed a dark threaten- ing sky and a heavy choppy sea. Canvas. Signed at the lower left. Height, 27 inches; width, 44 inches. 132 816 817 818 819 820 F. HOLMAN ENGLISH, 1780 BRITISH MAN-OF-WAR “EARL OF EFFINGHAM” The man-of-war is raising sail with cutter leaving side. Other ships of the fleet getting under way. In the distance the city of Liverpool. A slight rose hue over the sky of early morning. Canvas. Signed at the lower right. Height, 35 inches; length, 59 inches. PETER MONAMEY ENGLISH, EIGHTEENTH CENTURY THE SALUTE The “Royal George” about to anchor, receiving salute from an armed sloop. Portrayed on placid sea with clouded sky. Canvas. A charm- ing example of one of England’s most noted marine painters. Height, 17 inches; length, 27 inches. ARTHUR PATON BRITISH, EIGHTEENTH CENTURY AN ENGLISH FRIGATE Passing the White Cliffs of Dover. Under full sail. Several other ships under a head wind. The day is clouded and the sea pictured with long swells. Canvas. Framed. Height, 15 inches ; width, 18 inches. UNKNOWN ARTIST ENGLISH, NINETEENTH CENTURY MERCHANTMEN Two merchantmen in the foreground. The crew of the one actively engaged in handling the canvas, the other in full sail clearing the port. Further shipping activity is portrayed. Canvas. Height, 27 inches; length, 43 inches. UNKNOWN ARTIST ENGLISH, EIGHTEENTH CENTURY THE BATTLE OF THE NILE The battle in progress with several ships disabled and the cutters picking up the men. Canvas. Height, 21 inches; length, 37 inches. 133 bo RICHARD PATON ENGLISH, 1717-1791 THE LAUNCHING WAYS AT DAVENPORT | An interesting view of the old Admiralty yards, with several first caters under construction and several naval vessels ready for launching. Panel. Height, 15 inches; length, 22 inches. NICHOLAS POCOCK ENGLISH, EARLY EIGHTEENTH CENTURY THE ATTACK A Fleet of Seventeenth Century English naval vessels with the flagship in the foreground, displaying her beautifully decorated stern enriched with three lanterns. British flags at stern and Jack at mizzen mast. She is firing a broadside into the Dutch vessel to which she has made fast. Dark clouded sky with turbulent sea. Canvas. Framed. Height, 414 feet; width, 8 feet. [SEE ILLUSTRATION | | DOMINICK SERRES, R.A. PNGLISH. biog THE ENGLISH NAVAL TRAINING SCHOOL AT GREENWICH ARSENAL In the forepart of the picture a fine old man-of-war in full sail, of an earlier period, evidently relegated for training purposes. Several cut- ters manned by students under instructing officers. The buildings of the school and a view of the country can be seen in the distance. Can- vas. Signed and dated. Height, 19 inches; length, 26 inches. One of the finest canvasses of Dominick Serres, equalled only by several large examples now on view at the Greenwich Museum. [SEE ILLUSTRATION | UNKNOWN ARTIST DUTCH, EIGHTEENTH CENTURY AN ENGLISH BRIG Returning the salute of several Dutch craft. Canvas. Height, 26 inches; width, 36 inches. 134 “THE ATTACK,” BY NICHOLAS POCOCK [822] ' THE ENGLISH NAVAL TRAINING SCHOOL AT GREENWICH ARSENAL, BY DOMINICK SERRES, R.A. [ 823 | 826 829 W. J. TENTHEM ENGLISH, 1805 BURNING OF THE SPANISH SHIPS October 25, 1805. Four days after the Battle of Trafalgar. By Lieut. Alexander Dixie on H. M. Ship “Phoebe.” ‘The two ships are seen ablaze, with the town at the right. The British cutter with destroy- ing crew pulling away. Canvas. Framed. From the Bosworth Hall Sale, 1885. Height, 20 inches; length, 30 inches. LOUIS VERBOECKHOVEN DUTCH, EARLY NINETEENTH CENTURY DUTCH MERCHANTMAN “Hove To,” with brilliant reflection in the water and shore line in the distance. Several fishing boats in the foreground. Panel. Signed in the lower left corner. Framed. Height, 11 inches; width, 17 inches. UNKNOWN ARTIST ENGLISH, EIGHTEENTH CENTURY BATTLE OF TRAFALGAR Spirited action. Several ships dismasted. Canvas. Height, 24 inches; width, 33 inches. UNKNOWN ARTIST ENGLISH, EIGHTEENTH CENTURY BRITISH MAN-OF-WAR Entering the Harbour of Plymouth. Many types of vessels portrayed. Canvas. Height, 33 inches; width, 60 inches. HORACE VERNET FRENCH, EARLY NINETEENTH CENTURY ENGLISH MAN-OF-WAR Setting sail preparatory to departing, and the salutes from the in- habitants ashore. Ship showing her finely decorated stern and galleries. To the left the castle tower. Canvas. Height, 22 inches; length, 27 inches. 136 830 831 832 833 834 C. P. WILLIAMS ENGLISH, NINETEENTH CENTURY THE NAVAL PARADE The British Fleet drawn up in parade formation for review by Her Majesty, aboard the steam side-wheeler yacht. Canvas. Signed at the lower right. Height, 30 inches; length, 50 inches. UNKNOWN ARTIST ENGLISH, EARLY NINETEENTH CENTURY ADMIRAL NELSON LEAVING PORTSMOUTH Directly before the Battle of Trafalgar, with the British Redcoats con- trolling the enthusiastic populace. The mayor of the City is accom- panying the Admiral. Canvas. Signed F. L. Height, 514 feet; width, 81% feet. Probably the original oil sketch from which the mural for the Green- wich Museum was afterwards executed. UNKNOWN ARTIST FRENCH, EIGHTEENTH CENTURY THE FRENCH MAN-OF-WAR “LION” (THE FIRST) The old vessel lying at a wharf. ‘The fine old ornamented high stern with the two rampant lions clearly shown. An old French chateau to the right. Placid sea with fine cumulus sky. Panel. Height, 25 inches; length, 33 inches. SIR GODFREY KNELLER ENGLISH, EIGHTEENTH CENTURY GENERAL HOPKINS os Equestrian portrait with the General in cockaded black hat trimmed in gilt. Blue coat and red breeches and waistcoat. Mounted on a spirited chestnut charger with drawn sword. Canvas. Framed. Height, 48 inches; width, 38 inches. THOMAS HUDSON ENGLISH, EIGHTEENTH CENTURY ADMIRAL BENBOW Centre, standing, full-length figure in red coat and yellow waistcoat. Right hand resting on writing table. Black spaniel to the right. Dis- tant view through arched opening of British ship of the line. Canvas. Family script on the reverse. Height, 40 inches; width, 30 inches. 137 835 CARVED AND GILT OVERMANTEL MIRROR ENGLISH, EIGHTEENTH CENTURY Three-panel mirror at base in gilt floral moulding, above which is inset painted canvas panel by THOMAS LUNY ENGLISH, 1758-1839 The Storm at Sea, with several ships endangered by the rocky shore. Signed in the lower right corner. Height, 52 inches; width, 55 inches. A splendid example of this eminent marine artist’s work. 836 CARVED AND GILT OVERMANTEL MIRROR ENGLISH, EIGHTEENTH CENTURY Three-panel mirror at base in deep carved frame, with flaring scroll carved sides. Upper panel inset painted canvas by PETER MONAMEY ENGLISH, EIGHTEENTH CENTURY English Man-of-War “hove to,” having drawn up to a provision ship. In the distance can be seen several ships firing a salute. Height, 48 inches; width, 54 inches. [SEE ILLUSTRATION | 837 CARVED AND GILT OVERMANTEL MIRROR Gilt moulded frame with flower and ribbon carving. Three panels below, above which a canvas by J.& F. TUDDAY ENGLISH, 1867 An English Barque. Signed and dated at the lower left. Height, 44 inches; width 43 inches. 138 seth REM: PASI. TRY RT WA rey ye i i : i j ; $ i : { | ; j i H : i ENGLISH EIGHTEENTH CENTURY CARVED AND GILT OVERMANTEL MIRROR WITH INSET PAINTED CANVAS BY PETER MONAMEY [836] SHIP MODELS NUMBERS 838-887 838 MODEL OF A SPANISH GALLEON 839 Of silvered metal. Fully rigged with bellied sails. On wire stand. Length, 5 inches. CHARLES IV’S ROYAL BARGE [839] CHARLES IVS ROYAL BARGE ENGLISH, 1660 The Royal Thames River Barge built for Charles II. The original designer’s construction model from which the historic ship was ‘built. Boxwood, planked and ribbed. High stern magnificently carved with the Royal Coat of Arms, gilded, flanked by two male guardians; topped by carved replica of ‘Noah’s Ark” and Prince of Wales’ plumes. En- closed housing cabin with eighteen glazed windows on either side; on it is mounted a series of six carved full figures of sheep, cows and lions. High shaped rudder, enriched with painting of a white swan on green ground. ‘The forward section arranged with seats for sweepmen and accommodation for sixteen sweeps. ‘The bow has full standing carved figure of Neptune. The hull is further enriched with stripes in blue and vermilion, designed in gilt scrollings and flowers. Enclosed in glazed case. Height, 14 inches; length, 45 inches; width, 91% inches. Charles II, the “merrie monarch,” returned from his long exile in May, 1660, landing at white-cliffed Dover on the 26th. His enthusiastic reception there and in London is historic. He was crowned April 23rd, 1661. Always inclined to be extravagant in his personal expenditure, and appreciating the elegance and pomp of life, in contrast with the sombre austerity of the Puritans, the mag- nificence of the Royal barge appealed to him, the designs were readily approved, and after some minor changes the work of construction started at once. } | SEE ILLUSTRATION | 140 840 841 842 8435 844 845 ADMIRALTY YACHT ENGLISH, 1700 Hull planked in boxwood. Stern carved and gilded with latticed panes surmounted by carved eagles, flanking coat of arms. Quarter galleries gilded and latticed. Figurehead, bust figure of female. Completely rigged in teak and boxwook. Full deck impedimenta. Enclosed in glazed case. Height, 29 inches; length, 46 inches; width, 15 inches. ENGLISH FRIGATE, 52 GUNS 1770 Boxwood scale model, coppered to water-line. Mounting 52 bronze cannon. Figurehead, full-length figure of Victory. Stern and quarter galleries finely carved and latticed. Stern decorated with carving of two rampant lions flanking the royal coat of arms. Fully rigged with most complete detailed gear. Full deck impedimenta. Enclosed in glass case. Height, 15 inches; length, 20 inches; width, 7 inches. SLOOP OF WAR, 16 GUNS ENGLISH, 1760 Hull of bone, mounted on wooden stand. Length, 61% inches. BRITISH FRIGATE, 54 GUNS ENGLISH, 1760 Boxwood scale model in natural wood coloring, completely planked. Figurehead, full-length figure of H. M. Queen Charlotte. Latticed stern and galleries, both of which are handsomely decorated with mounted carvings. Completely rigged in teak and boxwood. Detailed deck impedimenta. Enclosed in glazed case. Height, 22 wmches; length, 30 inches; width, 14 inches. ENGLISH MAN-OF-WAR, 84 GUNS (SECOND RATER) 1770 Hull of bone, planked. Figurehead, carved figure of warrior. Carved stern and quarter galleries. Mounting 84 bronze guns. Masts and spars of bone finely rigged, flying the British ensign. Complete deck impedimenta. Set in on planked and galleried stand of bone, enclosed in oval glass globe case on mahogany base. Length over all, 17 inches. MAN-OF-WAR “MARS,” 182 GUNS ENGLISH, 1770 Boxwood scale model, mounting 132 bronze guns. Figurehead, full- length figure of “Mars.” Stern, galleried and balustered, enriched with stern lanterns. Quarter galleries carved and latticed. Completely rigged in boxwood and teak. Full deck impedimenta. In straw inlaid base enclosed in glazed case. Height, 20 inches; length, 23 inches; width, 8 inches. 141 [846] 846 MAN-OF-WAR Walnut Admiralty construction model. Planked and _ constructed throughout. Figurehead in bone representing a classic female figure with laurel wreath, flanked on either side by full-length cupids continuing in floral spray panels. Stern balustered and galleried with latticed panes; enriched with full-length carved and gilt statuettes mounted on pedestals. ‘The upper portion in floral spray terminating at centre in disk panel. The quarter galleries balustered and with latticed glazed windows. Deck with open hatches covered with perforated tops, which when raised discloses the entire construction. Enclosed in case. Height, 34 inches; length, 91 inches; width, 27 inches. [SEE ILLUSTRATIONS | 142 DUTCH MAN-OF-WAR, 1740 [846] 847 ee ae 848 ENGLISH MAN-OF-WAR, 72 GUNS 1770 Hull of bone, mounting 72 bronze guns. Carved, decorated and gal- leried stern with richly embellished quarter galleries. Figurehead, full- length figure of a Lion. Completely rigged with masts and spars of bone. Set on straw inlaid base enclosed in glazed case with mirrored back. Height, 114% inches; length, 914 inches; width, & inches. [848] BRITISH MAN-OF-WAR “ISIS” 1774 Walnut scale Admiralty construction model. Completely planked and rigged. Gun port stripe in biack, the balance in natural wood coloring. Arranged to accommodate 54 guns and classed as a “second rater.” Figurehead, carved three-quarter length figure in gilt of the Egyptian goddess Isis. Stern and galleries treated in gilt bandings with latticed panes. Deck fitted with hatches. Enclosed in the original walnut and glazed case. Height, 23 inches; length, 55 inches; width, 15 inches. The original dock yard model of the famous ship. H. M. 8S. “Isis” was launched in 1774 on the River Medway, 1051 tons displacement. She carried a crew of 343 men; length 146 feet, beam 41 feet; 15 foot draught. From 1776-80 she took an active part in the American Revo- lution. She was chased and brought into action on Aug. 16th, 1778, by the French “César,” a ‘74. The latter cleared for action on one side only and seeing this the “Isis” sailed around to the other side and fired several broadsides. ‘The larger ship was so badly damaged that she was glad to escape with the loss of 50 killed and wounded. In 1801 the “Isis” took part in the action against Copenhagen in the fleet under Nelson. She was broken up at Deptford in 1810. [SEE ILLUSTRATION | 144 849 850 851 852 BRITISH MAN-OF-WAR, 84 GUNS 1775 Hull planked in bone. Figurehead, full-length finely carved figure of a warrior with spear and shield. Stern and galleries carved and balus- tered. Fully rigged with masts and spars of bone. Complete deck impedimenta. Set on planked and inlaid stand enclosed by rail. In mahogany glazed case. Height, 20 inches; length, 28 inches; width, 18 inches. [850] THE TWELVE GUN BRIG “RECKLESS” ENGLISH, 1776 “A twelve gun Brig on slip to launch, by H. Horn, Modeller and Draughtsman. Scale 14 inch to a foot. Proposed name ‘Reckless.’ ” Boxwood Admiralty scale dock yard model, completely planked and rigged. Painted black above the water-line. Figurehead, carved bust of a seaman with old round hat, mounted on scroll with design in color. Stern decorated with gilt. Deck fittings complete with hatches, windlass and wheel. Set in miniature ways enclosed in dockyard. A very fine piece of craftsmanship artfully displayed and an excellent example of the intricate detail supplementing the construction of the early British Navy. Enclosed in original case. Height, 19 inches; length, 49 inches; width, 11 inches. [SEE ILLUSTRATION | ENGLISH MAN-OF-WAR, 70 GUNS 1780 Hull of bone. Carved and decorated figurehead, winged Victory. Carved stern piece and quarter galleries. On planked bone stand with pierced gallery and scalloped stand. Length, 61% inches. MAN-OF-WAR, 94 GUNS ENGLISH, 1780 Boxwood hull mounting 94 bronze cannon. Figurehead, representing figure of a warrior. Finely fashioned and balustered stern with carved galleries. Completely rigged. Set in straw inlaid case. Length, 7 inches. 145 ENGLISH FRIGATE “ARETHUSA” [853] B53. ENGLISH FRIGATE “ARETHUSA,” 44 GUNS 1780 Constructed, scale model. Hull planked. White to water-line, black above, with buff color gun port stripe. Figurehead, carved and gilt figure of “Sea Nymph.” Stern and galleries decorated and gilded with glazed and latticed panes. Completely rigged with all standing and running gear. Length, ‘75 inches. This model was formerly part of the well-known Oatway Collection. It is a very fine example of the builder’s dockyard model in its original con- dition, with the exception of some of the rigging, which has had some repairs. The “Arethusa” is the type of British frigate which was largely active against the United States in the war of 1812. [SEE ILLUSTRATION | 146 854 855 856 857 8574 858 MAN-OF-WAR, 60 GUNS FRENCH, 1780 Hull gilt to water-line, black above, with white gun port stripe, mounting 60 cannon. Figurehead, bust of woman in gilt and polychrome. Com- pletely rigged. In fine state of preservation. Length, 42 inches. ENGLISH MAN-OF-WAR, 90 GUNS 1780 Hull of bone. Carved and decorated stern and quarter galleries. Fig- urehead, full-length figure of an Admiral, in colored uniform. Com- pletely rigged with masts and spars of bone. Full deck impedimenta. Set in straw inlaid box enclosed in hexagonal case. Length, 714 inches. An exceptionally fine full-rigged bone model of this size. BRITISH MAN-OF-WAR “GLADIATOR,” 80 GUNS 1782 Hull copper-covered, mounting 80 bronze guns. Figurehead, full-length figure of a Roman Gladiator, holding a shield on left arm. Stern is richly carved and balustered, with gallery and latticed panes. Quarter galleries carved and latticed. Completely rigged in the finest manner of the period. Full deck impedimenta. Set on old decorated stand, enclosed in black ebony case. | Height, 12 inches; length, 16 inches; width, 8 inches. ENGLISH NAVAL CUTTER , 1785 Boxwood construction model of an armed cutter, fitted to carry 10 guns. Completely planked and ribbed. Deck open to show construction. Eight small ports for sweeps. Fitted for one mast. In glass case. Height, 7 inches; length, 18 inches; width, 64% inches. ENGLISH MAN-OF-WAR 1785 Constructed hull of wood, bronzed to water-line. Black and buff gun port stripes, mounting fifty cannon. Stern latticed and glazed and deco- rated in color with Cupidon on either’ side flanking centre medallion of Prince of Wales’ plumes. Figurehead, carved full-length figure of Eng- lish seaman. Complete deck impedimenta. Fully rigged, with pine masts and spars. Set in oak stand. Length over all, 52 inches. ENGLISH MAN-OF-WAR, 88 GUNS 1790 Boxwood model. Hull covered with copper sheeting to water-line. Mounting 88 bronze cannon. Figurehead, carved three-quarter length figure of “Neptune.” Carved balustered and decorated stern with lat- ticed quarter galleries. Completely rigged to the minutest detail. Complete impedimenta, including anchors, cutters, windlass, etc. En- closed in original metal inlaid mahogany case. Height, 1714 inches; length, 20 inches; width, 71 inches. 147 [859] 859 ENGLISH FRIGATE “TIGRESS,” 56 GUNS 1784 Boxwood Admiralty construction model. Built to scale for dockyard use. Completely planked and ribbed. Both sides of under hull open to show construction. Exquisitely carved figurehead, full-length female figure, clothed in draped gown, resting on carved gilt leaf scroll. The stern glazed and latticed, enriched with gilded brackets and stellated motives topped by leaf scroll painted decoration, flanking coat of arms of Sir Robert Rowlinson, chief of the Admiralty. Deck equipped with latticed hatch covers, windlass, double ivory wheel, and with portion open to show cross-sections of construction. Enclosed in glazed case. Height, 19 inches; length, 60 inches; width, 20 inches. The “Tigress” was built at Plymouth in 1784. She carried 56 guns, and was considered by naval authorities the finest of the swift frigate type of fighting craft. Little history is available of her achievements except that she was sighted off the West Indies in 1813, but did not take part in any action. [SEE ILLUSTRATION | 148 ie [860] 860 MAN-OF-WAR “WARRIOR,” 120 GUNS ENGLISH, 1790 Boxwood scale model. Hull planked, mounting 120 bronze guns. Fig- urehead, full-length carved figure of warrior decorated in colors. Stern balustered and galleried with latticed panes, enriched with winged cupidons flanking coat of arms. Quarter galleries, carved and latticed. Finely rigged in teak and boxwood, with every attention given to the smallest detail. Complete deck impedimenta. Enclosed in original mahogany case. ! Height, 2014 inches; length, 26 inches; width, 10 inches. [SEE ILLUSTRATION | 149 861 862 863 864 865 866 MAN-OF-WAR “LE MAJESTUEUX,” 130 GUNS FRENCH, 1790 Hull of bone, planked; mounting 1380 bronze guns in bone blocks. Fig- urehead, carved full-length figure of a warrior, decorated in colors. Stern and quarter galleries balustered and carved. Fully rigged with bone masts and spars. Full deck impedimenta. A most complete and intricate model. Enclosed in glazed case. Length, 277 inches. ENGLISH MAN-OF-WAR, 100 GUNS 1790 Hull of bone, planked, mounting 100 bronze guns. Figurehead, carved figure of warrior, decorated in color. Balustered and latticed stern. Completely rigged with masts and spars of bone. Full deck impedi- menta. On inlaid mahogany stand, enclosed in glass globe case. Length, 14 inches. ENGLISH MAN-OF-WAR, 62 GUNS 1795 Hull red to water-line, black above with tan gun port stripe. Galleried stern. Completely rigged with furled sails. Deck impedimenta. Length, 53 inches. ENGLISH FRIGATE, 22 GUNS 1800 Hull planked and ribbed; black with white gun port stripe. Figure- head, full-length draped female figure. Carved, decorated and gilt stern and quarter galleries. Completely rigged and with full deck impedi- menta. Length, 60 inches. MAN-OF-WAR, 90 GUNS ENGLISH, 1800 Hull in bone, completely planked. Balustered and carved stern and quarter galleries. Figurehead, full-length female figure. Deck impedi- menta. Set on bronze stand of four dolphins. Enclosed in glazed case. Height, 414 inches; length, 10 inches; width, 5 inches. BRITISH EAST INDIAMAN, 44 GUNS 1800 Boxwood dockyard model; planked and ribbed. Painted green to water- line, black above, with buff-colored gun port stripes. The inside trimmed in vermilion. Figurehead, carved bust figure representing “Britannia.” Finely fashioned stern, latticed with 6 glazed panes above a row of 8 glazed panes below. Quarter galleries glazed with 6 latticed panes. Full deck impedimenta. Length, 46 inches. This model represents the type of vessel which brought the treasures of the East to Europe, a century and a half ago. ‘These vessels were armed as heavily as a frigate, in order to resist the attacks of pirates in the Indian Ocean. 150 867 868 869 870 871 871A 872 873 ENGLISH FRIGATE, 48 GUNS 1810 Hull planked in bone. Stern and quarter galleries carved and latticed. Fully rigged with bone masts and spars. Complete deck impedimenta. Set on carved bone stand enclosed in original Sheraton mahogany case. Height, 12 inches; length, 121% inches; width, 6 ches. ENGLISH FRIGATE, 48 GUNS 1820 Hull in red and black with white gun port stripe. Figurehead, head of cupidon. Fully rigged, with complete deck impedimenta. Stern deco- rated and gilded. Length, 60 inches. ENGLISH MERCHANTMAN 1820 Construction model of an English Merchantman. Hull in boxwood. Planked in broad planks. Stern glazed and latticed. Deck with rail. Skylights, windlass and other deck impedimenta. Length, ‘75 inches. ENGLISH FRIGATE 1820 Curiously made model with mahogany hull, which has a white gun port stripe. Completely rigged with sails set. Enclosed in original glass case. Height, 11 inches; length, 9 inches; width, 5 inches. ENGLISH FRIGATE, 52 GUNS ENGLISH, 1820 Hull bronzed to water-line, black above. Figurehead, bust figure of female. Carved and latticed stern. Finely rigged. In mahogany case. Height, 20 inches; length, 26 imches ; width, 10 inches. FRENCH FRIGATE, 40 GUNS 1820 Black hull to water-line, with gun port stripe above. Decorated stern and quarter galleries. Figurehead, carved gilt bust of French naval officer. Completely rigged. Set in cradle stand. Length, 18 inches. EAST INDIAMAN ENGLISH, 1825 Hull terra cotta color to water-line, black above, with white gun port stripes. Stern and galleries carved and decorated. Scroll figurehead. Completely rigged, and full deck equipment. Length, 31 inches. ENGLISH BRIG 1830 Hull black, with white gun port stripes. Figurehead, carved full-length figure of British seaman with the old round hat in one hand and British ensign in the other. Deck and fittings in mahogany. Fully rigged in detail of mahogany. Set in plaque of miniature waves. Enclosed in original mahogany case. Height, 13 inches; length, 18 inches; width, 91% inches. 151 8734 ENGLISH ROYAL NAVAL YACHT “WATERWITCH” 1830 874 875 879 Constructed hull coppered with sheeting to water-line; planked with ma- hogany above, with black porthole stripe; carved stern and quarter- galleries. The stern with gilt carved British coat of arms; figurehead, bust figure of English warrior. Deck planked in boxwood, mounting six “Long Toms”; complete deck impedimenta. Brig fully rigged, masts and spars of mahogany. Set in cradled stand enclosed in mahogany glazed case on table base. Case, height, 43 inches; length, 55 inches; width, 21 inches. The ‘‘Waterwitch” proved to be such a fast vessel that she was pur- chased by the English navy and used on the West coast of Africa against the Slavers. CHALOUPE DE PECHE “LA FAVORITE” FRENCH, 1830 Constructed model. Hull in walnut, planked and ribbed, figurehead in scroll and leaf design. Stern and galleries carved and glazed. Length, 34 inches. BRIG ENGLISH, 1840 Finely fashioned hull of mahogany. Deck planked, having companion hatches. Set in glazed case. Height, 714 inches; length, 24 inches; width, 7Y, inches. AMERICAN BRIGANTINE 1840 Hull gilt to water-line, black above. Trimmed in green inside deck. Figurehead, in scroll. Rounded stern. Completely rigged. Masts and spars of pine. Set in cradle. Length, 39 inches. AMERICAN BRIG 1840 Walnut planked and constructed model. Fully rigged with masts and spars of walnut. Complete deck impedimenta. Set in cradle. Length, 46 inches. AMERICAN PACKET SHIP “UNITED STATES” 1845 Hull black with white and brown stripe above. Inside rail decorated in green. Figurehead, in form of winged scroll. Shaped stern, enriched in gilt and green with name “United States.” Completely rigged ; masts and spars of pine. Full deck impedimenta. Set on oblong base. Length, 52 inches. A fine specimen of the American Seaman’s workmanship. The “United States” was one of the famous New York ships, built for the Robert Kermit Line of Liverpool Packets. The line operated for only two or three years and carried chiefly cotton for the trade. FULL RIGGED SHIP putcH, 1850 Hull in walnut. Completely rigged and full deck impedimenta. Length, 17 inches. 152 880 881 882 883 884 - 885 886 887 AMERICAN BRIGANTINE 1850 Hull black. Im full sail, the latter of metal, painted white. Complete rigging and full deck impedimenta. Set in cradle. Length, 21 inches. AMERICAN CLIPPER BARK “JANE ADAMS” Pel So2 Hull in black. Masts and spars of bone. ‘Two bronze guns mounted. Figurehead of bone of full-length female figure. Full deck impedimenta. Completely rigged. Fine clean cut lines. Length, 22 inches. ENGLISH CLIPPER SHIP “STAR OF HOPE” 1860 Hull in walnut, planked. Green to water-line, natural wood color above. Completely rigged, spars and masts of walnut. Full deck impedimenta. Set in ways. Enclosed in glazed case. Height, 34 inches; length, 51 inches; width, 22 inches. AMERICAN CLIPPER SHIP “FLYING EAGLE” 1860. Hull black with red stripe. Figurehead, carved spread eagle. Rounded stern. Fully and completely rigged. Set in cradle. Length, 17 inches. CLIPPER SHIP “MARGARETHA” ENGLISH, 1862 Hull gilded to water-line, black above. Shaped stern with name plate. Completely rigged, masts and spars of walnut. Full deck impedimenta. Set on oblong base. Length, 26 inches. MODEL OF STEAM YACHT Hull red with black and white above. Two masts rigged for auxiliary sails. Set in plaque of miniature waves; enclosed in glass case. Height, 18 inches; length, 24 inches. TOMAS GAVDIELLO ITALIAN, 1727 ITALIAN HARBOR SCENE Many completely rigged miniature ships in the harbor, which is pro- tected by breakwater and forts. On the shores and amid the hills are houses and castles. A carved panel, the objects in the foreground com- plete and the balance in relief. Signed in lower centre. Enclosed in black and gold glazed case. Height, 30 inches; length, 36 inches. TOMAS GAVDIELLO ITALIAN, 1727 ITALIAN HARBOR SCENE Similar to the preceding. 1538 888 889 890 891 892 893 894 SHIP BELLS, NAVAL CANNON AND MARINE RELICS NUMBERS 888-896 TWO EARLY EIGHTEENTH CENTURY ENGLISH SHIP’S LANTERNS OF THE PERIOD OF GEORGE II From the flagship “King Harold.” Attenuated tapering bodies of finely gilded bronze, the centre formed of five glazed panels of which one is hinged as a door surrounded by chased rocaille scrolls. Tiasselled domed bottom and cover engraved with acanthus husks and beads, and enriched with winged amorini heads and finials of upstanding figures of mediaeval knights in armor. These lanterns, from one of Britain’s magnificent men-of-war of pre- revolutionary days, are in a fine state of preservation. (2) BRONZE SHIP BELL ENGLISH, 1744 Of fine bronze bell metal with iron tongue. Inscribed 1744, and with banding of conventional scroll design. Height, 13 inches. BRONZE SHIP BELL ENGLISH, EIGHTEENTH CENTURY Of fine old bronze bell metal with iron tongue. Raised arrow-head on side, indicating that it was once the property of the British Navy. Height, 14 inches. TWO BRONZE NAVAL CANNON ENGLISH, EIGHTEENTH CENTURY Mounted and set in on mahogany stands. Lashed down by two brass hinged straps. (2) Length, 17 inches. MODEL OF A CANNON ENGLISH, EARLY NINETEENTH CENTURY Cannon of bronze mounted on bone wheels and shaft bound in brass. Gun carriage and ammunition train constructed similarly. (2) Length, 6 and 71% inches. MODEL OF AN OLD FRENCH NAVAL CANNON Of bronze, richly embossed, set on three-wheeled truck with a mound of four cannon balls. Set on black onyx stand. Length, 12 inches. TWO NAVAL CANNON Old iron naval cannon mounted in original oak trucks with heavy block rings. Marked B. P. & Co. 3-2-24 (1824). (2) Length, 3 feet 8 inches. 154 895 896 896A 896B 896c 896pD CELESTIAL AND TERRESTRIAL GLOBES EARLY ENGLISH Globe supported in a brass ring. Set in carved mahogany Sheraton frame on three tapering legs with spade feet with brass castors. The globes by W. & T. M. Bardin, London. Height, 45 inches. MAHOGANY COMPASS TABLE ENGLISH, EIGHTEENTH CENTURY Square top with compass inset in copper plaque which has at opposite corner a sundial. Inscribed: Made for Henry Savage by Edward Low, 1763. Supported on carved pedestal on tripod stand. Height, 30 inches. AMERICAN SCRIMSHAW WORK Wuatine ScENE Very finely worked on a large plaque of white whale-bone, depicting a whaler with the long boats in action and the whale “struck.” The pic- ture framed in floral spray design. Height, 8 inches; length, 18 inches. AMERICAN SCRIMSHAW WORK Whale’s tooth finely worked with the picture of the “Constitution” on both sides, the one flying the American flag worked in colors. Length, 7 inches. TWO BRISTOL GLASS GOBLETS ~ ENGLISH, EIGHTEENTH CENTURY Flaring cup on moulded standard with square base; one side cut with Sunderland Bridge, with a brig in full sail passing beneath: the reverse bears a vase, flowers and sprigs. (2) EIGHTEENTH CENTURY DUTCH PAINTED ROOM Composed of five panels. (a) Fisherman leaving port. Brown-sailed schooner passing green pro- montory which is crowned by a windmill. Beyond are three schooners at full sail, with fisherman. The sailors in costumes. A man-of-war and the outlines of a great city are in the background. (b) Dutch frigate, ‘“Castrigom,” at anchor, her bow shaped like the facade of a stately Renaissance house at The Hague, painted green and white and heightened with gold. She is: fully rigged and flies the flag of the Netherlands. At her sides are fully rigged barkentines, and beneath in the blue-green waters can be seen small rowboats and lifebuoys. (c, d) Two peaceful landscapes with canals and villages, enlivened by small brightly colored figures. (e) Upright panel painted with the design of an urn in grisaille of white marble and filled with a bouquet of naturalistically colored field flowers, and enriched with a single motif of a butterfly. Size of the panels, 6 feet 4 inches x 2 feet 11 inches. 6 feet 4 wmches x 8 feet 3 winches. 6 feet 4 inches x 8 feet 3 winches. 6 feet 6 inches x 8 feet 4 inches. 6 feet 6 imches x 8 feet 4 iches. 155 896k SIXTEENTH CENTURY PORTUGUESE EMBROIDERED SILK TAPESTRY: “THE RETURN OF FERNAO MENDEZ PINTO TO LISBON AFTER HIS ADVENTURES AND VOYAGES” The centre is occupied by the outline of a royal barge, with the figure of Fernao Mendez Pinto seated on a throne chair and surrounded by a host of rowing coolies. The tall masts with lower sails are beflagged with penants of orange, red and gold, with the emblem of the Crescent. At the stern and bow two bewigged Orientals are seated, one playing on a flute and the other smoking a pipe. To the right, the bay, with rowboats and fish and a round towered fortress from which a soldier, with feathered hat, can be seen discharging a cannon. To the left, a turreted castle upon an island, and beneath, a fortified tower from which two guns are being discharged by a soldier in sixteenth century costume. Be- neath the fortress appears a fisherman seated on richly flowered ground, which extends beneath the centre motif with cranes flanking upstanding multicolored flower bushes. The upper fore- and background is com- posed of feudal castles with trees and deer, and blue mountains beyond. In the sky are birds of prey in flight, and conventionalized clouds. The tapestry is worked in punto floscio, in richly colored silks on a cream ground, with superb scalloped borders of floral arabesques on a canary- yellow ground. This tapestry of extraordinary importance was on exhibition at the South Kensington Museum and appears for the first time at public sale. Size, 7 feet 8 inches x 14 feet 5 mches. Fernao Mendez Pinto, the famous adventurer and voyager, was the first white man to visit Japan. He returned to Lisbon in 1558, and was in- vited to reside at the Court. He died in 1583. [SEE ILLUSTRATION | 156 897 898 899 900 901 OLD ENGLISH SPORTING PRINTS AND PAINTINGS NUMBERS 897-909 UNKNOWN ARTIST ENGLISH, EARLY NINETEENTH CENTURY JOCKEY MOUNTED ON CHESTNUT HORSE The Jockey in dark brown coat, white breeches and red cap, on the field, with paddocks to the left. Canvas. Height, 23 inches; width, 30 inches. H. HALL ENGLISH, 1878 A BROWN GELDING Expressing a vicious attitude toward the stable boy, who is trying to brush him down. Canvas. Tramed. Height, 30 inches; width, 36 inches. H. HALL ENGLIsH, 1878 A THOROUGHBRED Black Horse in Stable, having just had exercise. Trainer in attendance portrayed at the left. Canvas. Signed and dated. Framed. Height, 30 inches; width, 36 inches. JAMES SMART ENGLISH, EIGHTEENTH CENTURY A GRAY RIDER Held by attendant in long black coat with tall hat. Distant landscape of rolling fields. Canvas. Framed. 7 Height, 30 inches; width, 36 inches. FRANCIS SARTORIUS ENGLISH, 1803 A HUNTER Chestnut horse in stockade with rolling green. Stable building at the right. Clouded sky. Canvas. Signed and dated. Framed. Height, 25 inches; width, 30 inches. 157 902 903 904 905 906 907 CHARLES HERRING ENGLISH, NINETEENTH CENTURY “SONGSTRESS” The property of Mr. J. Scott, winner of the Oaks, 1852. Canvas. Height, 14 inches ; width, 18 inches. Framed. ROBERT EDGAR ENGLISH, 1812 A CLOSE RACE The horses are nearing the finish, with both jockeys forcing them. Canvas. Signed R. E. and dated 1812. Framed. Height, 614 inches; width, 10 inches. UNKNOWN ARTIST ENGLISH, NINETEENTH CENTURY “TRISH BIRDCATCHER” Owned by Daniel O’Rourke, winner of the Derby, 1852. Canvas. Framed. Height, 14 inches; width, 18 inches. JAMES SEYMOUR ENGLISH, EIGHTEENTH CENTURY THE RACE Two galloping steeds. One jockey wears a blue coat, and the other a lavender. Canvas. Height, 28 inches; width, 36 inches. OLD ENGLISH SPORTING PRINT Younc, Driver. ) Two lines of the history of Young the Jockey from 1762 to 1763. ‘T. Burford, delin. et fecit: Mezzotint. Published, London, 1765. Folio. Framed. OLD FRENCH SPORTING PRINTS Les Jocxreys Monrés. La Course. L’ARIVEE DE LA Course. Les Apprits p’uNE Course. C. Vernet, del. Engraved and in color by Darcis. Small folios. Framed. (4) 158 908 909 OLD FRENCH SPORTING PRINTS Les Jockeys au Monrer. Le Cueva BoucHonne£. C. Vernet, del. Engraved and in color by Darcis. Small folios. Framed. (2) MODEL OF A SPANISH TRAVELLING COACH EIGHTEENTH CENTURY Folding leather top. Body in black with vermilion and orange decora- tion. Wheels ironbound with oak spokes, painted red. Designated as “No. 1—Madria—Puerto Real.” Height, 16 inches; length, 20 inches. 159 SALE FRIDAY AFTERNOON, FEBRUARY SECOND, AT 2:30 SEVENTH SESSION NUMBERS 910-1054 ENGLISH, FRENCH AND ITALIAN FURNITURE PAINTED WAINSCOT ROOMS AND IMPORTANT TAPESTRIES 910 91d 912 913 914 915 916 EARLY NINETEENTH CENTURY ENGLISH BRASS FENDER Open wirework and scroll design, standing on three claw feet. EIGHTEENTH CENTURY ENGLISH MAHOGANY TEA TABLE Circular top, carved edge; fluted columnar support on carved tripod base. EIGHTEENTH CENTURY ENGLISH MAHOGANY BANNER SCREEN Chippendale period. Banner worked in a floral and filigree design in paper. Dated 1781. On carved tripod stand. TWO NINETEENTH CENTURY ENGLISH MAHOGANY TER- RESTRIAL AND CELESTIAL WORLD GLOBES Turned columnar support connecting legs carved in a scroll design. By Thomas Malbey & Son. Dated 1853. (2) EARLY NINETEENTH CENTURY ENGLISH BRASS FENDER Of a massive openwork ball and scroll design, and standing on three scroll feet. EIGHTEENTH CENTURY ENGLISH MAHOGANY TIP-TOP TABLE Chippendale period. Shaped tray top on turned column supported by three shaped legs carved at the knees. EIGHTEENTH CENTURY ENGLISH MAHOGANY WING CHAIR Chippendale period.. Cabriole legs carved at the knees, termimating in ball and claw feet; upholstered and covered in a floral silk damask ; loose cushion seat. 161 oly 918 SANS, 920 921 922 923 9234 EIGHTEENTH CENTURY ENGLISH PAINTED CARD TABLE Adam period. Semi-circular hinged top decorated in the centre with fruit and flowers; border with conventionalized feathers. Plain panels, inlaid rosetted dies, on square tapering legs. EARLY NINETEENTH CENTURY ENGLISH BRASS FENDER Of an openwork and bead design; standing on three ball feet. TWO EARLY NINETEENTH CENTURY ENGLISH TERRES- TRIAL AND CELESTIAL WORLD GLOBES Stands composed of turned columns supported by scroll-shaped legs holding compass. By Newton, Chancery Lane, London, England. (2) TWO EIGHTEENTH CENTURY ENGLISH CARVED AND GILT WINDOW SEATS Adam period. Scroll ends; shaped moulded front, sides and backs; on four turned fluted tapering legs; upholstered and covered in a gold silk damask. (2) TWO EIGHTEENTH CENTURY ENGLISH BANNER SCREENS Oval banners representing Boy and Girl. Walnut stands. (2) EIGHTEENTH CENTURY ENGLISH MAHOGANY SIDEBOARD Sheraton period. Shaped top with edges inlaid in bands of satinwood. Front fitted in the centre with one long drawer inlaid in manner similar to that of the top; on the left is a cupboard enclosed by a convex door with an oval panel in the centre; on the right is one deep drawer, the interior of which is fitted with original lead liners. Drawers. with original brass drop handles; plain sides; fluted stiles and dies; on square tapered and fluted legs; spandrels composed of leaves inlaid in various woods. SET OF OLD ENGLISH GLAZED CHINTZ CURTAINS Composed of four curtains and two valances covered with a decoration of bouquets of flowers, in bright colors on a white ground. (6) SIXTEENTH CENTURY FRENCH NEEDLEWORK PICTURE DEPICTING THE NATIVITY With the figure of the Holy Virgin stretched towards the crib with the infant Lord. The left foreground and background are filled with figures of winged seraphim and saints. Worked in blues, golden tans, greens in gros point, with the faces painted on a petit point ground. 162 924 925 926 927 928 929 930 KIGHTEENTH CENTURY ENGLISH MAHOGANY EXTENSION DINING TABLE Sheraton period. Plain top with moulded and leaf-carved edge; sides inlaid in satinwood; on square tapering legs. SET OF SIX EIGHTEENTH CENTURY ENGLISH MAHOGANY SIDE CHAIRS Hepplewhite period. Shield-shaped backs with centre in the form of an urn draped; leaf carved slats; tapered legs connected by understretcher. (6) EIGHTEENTH CENTURY ENGLISH MARBLE MANTELPIECE Adam period. EIGHTEENTH CENTURY ENGLISH CARVED AND PAINTED WOOD MANTEL MIRROR Adam period. Centre composed of a convex mirror surrounded by leaf- carved border. Each panel with oblong mirror plate with fluted pilas- ters and headed by richly carved capitol enrichments on each side, and surmounted in the centre by a carved and gilt panel representing danc- ing female figures; on either side are festoons and musical instruments. Moulded cornice. EIGHTEENTH CENTURY ENGLISH MAHOGANY SETTEE Adam period. Square back; curved arms on scroll-shaped supports; rosetted dies; on square tapered legs. Seat and back upholstered and covered in red velvet. EIGHTEENTH CENTURY ENGLISH MAHOGANY BOOKCASE Chippendale period. Top part composed of cabinet enclosed by two glass doors, surmounted by shaped cornice carved in the centre with a fleur-de-lys which is held by scrolls. Lower part fitted with two drawers with original brass handles and escutcheon plates, below which are two panelled doors with carved rosettes in the corners; on moulded base sup- ported by block feet. Lower part with carved edge and fitted with two drawers. EIGHTEENTH CENTURY ENGLISH MAHOGANY BOOKCASE Chippendale period. Top part composed of cabinet enclosed by two glass doors, surmounted by shaped cornice carved in the centre with a fleur-de-lys which is held by scrolls. Lower part fitted with two drawers with original brass handles and escutcheon plates, below which are two panelled doors with carved rosettes in the corners; on moulded base supported by block feet. Lower part with carved edge fitted with two drawers. 163 931 932 933 934 935 936 937 EIGHTEENTH CENTURY ENGLISH FIVE-FOLD PAINTED LEATHER SCREEN Decorated with a design of leaves and flowers on a gold ground. EIGHTEENTH CENTURY ENGLISH MAHOGANY SIDE TABLE Chippendale period. Plain mahogany top with carved edge fitted with one drawer; supported by four square tapering legs connected by two carved spandrels. EIGHTEENTH CENTURY ENGLISH MAHOGANY CONSOLE TABLE Chippendale period. Plain mahogany top, carved edge; fitted with one drawer; two original brass handles. ‘Two plain cabriole pull-out legs forming centre table, two front legs carved on the knees and terminating in carved club feet. TWO EIGHTEENTH CENTURY ENGLISH CARVED AND GILT WOOD MIRRORS Adam period. Oblong mirror plate flanked by fluted columns with leaf- carved capitols. Surmounted by an eglomisé panel decorated in the centre with a castle and surrounded by trellis pattern. (2) EIGHTEENTH CENTURY ENGLISH MAHOGANY CORNER CUPBOARD Top part formed as a cupboard enclosed by two panelled doors inlaid in the centre with an oval medallion of flowers and surrounded by inlays in geometrical manner ; cornice inlaid in flowers and fruits. Lower part, with tambour front, also forms a cupboard; supported by block feet. EKIGHTEENTH CENTURY ENGLISH COMMODE Sheraton period. Top inlaid with band of kingwood; fitted with two drawers with original brass handles, and with two doors below enclosing cupboard. EIGHTEENTH CENTURY ENGLISH MAHOGANY LIBRARY TABLE Chippendale period. Circular top with carved leaf border; fitted with eight drawers with original brass drop handles; original green leather : top. On a square base fitted with panelled door enclosing a cupboard. 164 938 Lo 939 a 6 0 941 942 ‘ge 943 < 944 a ad 945 Spa EIGHTEENTH CENTURY ENGLISH MAHOGANY PEDESTAL WRITING DESK Chippendale period. Oblong top with moulded edge carved in a flower and scroll pattern; covered in black leather, fitted with lift reading stand and three drawers, one large and two smaller. Pedestals fitted, on the one side with three drawers and on the other with a door in the form of three dummy drawers enclosing cupboard. On moulded base with carved edge. EIGHTEENTH CENTURY ENGLISH MAHOGANY WING CHAIR Chippendale period. Cabriole legs, carved at the knees; ball and claw feet. Upholstered and covered in red silk; loose cushion seat. TWO OLD ENGLISH CARVED AND GILT WOOD TEA TABLES Pie-crust tops, supported by tripod stands; with eagles’ heads on three carved scroll feet. (2) EIGHTEENTH CENTURY MAHOGANY TRIPOD TABLE Chippendale period. Shaped top, moulded and carved in the centre in a leaf pattern. Columnar support standing on three carved legs termi- nating in ball and claw feet. EIGHTEENTH CENTURY ENGLISH GAMING TABLE Sheraton period. ‘Top inlaid with bands of satinwood, with ebony and maple inlays forming a chess board. Lift-up top forming a card table covered in green leather. On four square tapered legs. EARLY NINETEENTH CENTURY ENGLISH MIRROR Empire period. Oblong upright mirror plate with painted and gilt frame; gilt Corinthian columnar sides; surmounted by mask-heads and scroll carvings; fluted bases. 7 SEVENTEENTH CENTURY FLEMISH OAK CENTRE TABLE Moulded top. Sides carved in a leaf and scroll pattern with mask- head carvings in centre; similarly carved dies; supported by four bulbous legs carved in a leaf and architectural design, connected by turned graduating understretchers, standing. on ball feet above which are lion heads carved in relief. SEVENTEENTH CENTURY ENGLISH OAK BUFFET Each shelf has carved edge in a leaf design, and is supported by bulbous carved supports. Aprons beautifully carved with a leaf and flower pat- tern. 165 946 947 949 950 952 Ps . lg 953 al} SEVENTEENTH CENTURY ENGLISH OAK REFECTORY TABLE Oblong top supported by four turned and tapered columns connected by understretchers. EIGHTEENTH CENTURY ENGLISH SATINWOOD CORNER CABINET Sheraton period. Scroll cornice inlaid with rosetted dies; enclosed by two convex panelled doors, inlaid with oval medallions of musical trophies, surrounded by a border of harewood. Shaped base inlaid with oval me- dallion of shell. EIGHTEENTH CENTURY ENGLISH MAHOGANY CARD TABLE : Sheraton period. Plain mahogany top inlaid with band of satinwood; apron inlaid in a geometrical manner; on square tapered legs inlaid in a reas \ similar manner. EIGHTEENTH CENTURY ENGLISH SATINWOOD SIDE- BOARD Adam period. Upper part composed of shelf surrounded by gilt metal gallery and supported by similar columns; lower part with painted panel decorated in a leaf and flower design, below which are two panelled doors enclosing a cabinet. EIGHTEENTH CENTURY ENGLISH MAHOGANY TRIPOD TABLE Chippendale period. Circular top; edge carved in a leaf design; carved columnar support terminating in three shaped legs carved at the knees. TWO EIGHTEENTH CENTURY ENGLISH MAHOGANY TEA TABLES Adam period. Circular tops, beaded edges; on three spindle legs holding understretcher supported by three curved and carved feet. (2) EIGHTEENTH CENTURY TABLE Sheraton period. ENGLISH MAHOGANY TIP-TOP Circular top inlaid with band of satinwood with moulded edge carved in a ribbon and flower pattern; on turned column supported by three shaped legs inlaid with bands of satinwood. KIGHTEENTH CENTURY ENGLISH CONSOLE TABLE Adam period. Satinwood top, inlaid in a ribbon and leaf pattern. Carved leaf and fluted gilt apron; on four square tapered legs. 166 954 Ce 955 “yY~ ES 956 957 959 EIGHTEENTH CENTURY ENGLISH CARVED AND GILT WOOD CONSOLE TABLE Adam period. Half-moon shape with mahogany top inlaid in bands of satinwood. Apron carved in a leaf design; flowered dies; supported by four square tapered legs with rosettes and fleurs-de-lys carved in relief. TWO EIGHTEENTH CENTURY CARVED AND GILT WOOD WALL MIRRORS Adam period. Upper part composed of a rectangular canvas painted with a wreath of roses and leaves in many colors; above and below are panels of festoons and leaves suspended by bow knots, while on each side are scroll-carved panels. Below is a rectangular mirror plate. The whole surrounded by a beaded border. (2) EIGHTEENTH CENTURY ENGLISH WALNUT WING CHAIR Queen Anne period. Legs carved at the knees in a shell design, termi- nating in club feet, connected by turned stretcher. Upholstered and covered in flowered brocatelle; loose cushion. EIGHTEENTH CENTURY ENGLISH MAHOGANY DESK Sheraton period. Top part has small cabinet inlaid with bands of satinwood at sides and in centre; enclosed by two glass doors; sur- mounted by cornice; fitted with five small drawers inlaid with satinwood ; with original brass drop handles, below which are two small shutter- front compartments. Lower part has lift-up writing pad in the centre and is fitted with three large drawers; supported by four square tap- ering legs, inlaid with satinwood. /EIGHTEENTH CENTURY FRENCH CARVED AND GILT WOOD FIRE SCREEN Louis Seize period. Shaped frame with ribbon carving at top, sur- rounded by bead and scroll carved border, holding glass panel. On scroll legs with rosetted dies. EIGHTEENTH CENTURY ENGLISH MAHOGANY CORNER CUPBOARD Sheraton period. Upper part forming a cabinet, enclosed by two glass doors of a Gothic design and inlaid with bands of satinwood. 'The lower part forms a cupboard enclosed by two doors similarly inlaid. Original bone escutcheons. 167 Noe 960 EIGHTEENTH CENTURY ENGLISH MAHOGANY SECRE- TAIRE-BOOKCASE Chippendale period. Upper part composed of cabinet enclosed by two glass panelled doors surmounted by a cornice carved in a Gothic and leaf pattern. The lower part formed as a drop-front secrétaire fitted with small drawers and compartments; below are four long drawers with original escutcheon plates and handles. On moulded base carved in a beadwork design and supported by four block feet. EIGHTEENTH CENTURY ENGLISH MAHOGANY CARD TABLE Sheraton period. ‘Triangular lift-up top, inlaid with bands of satin- wood; sides inlaid in a similar manner; supported by square tapered legs. OLD ENGLISH EIGHTEENTH CENTURY FOUR-FOLD LEATHER SCREEN Representing Chinese figures and pagodas surrounded by sprays of flowers painted in various colors on a gold ground. The whole sur- rounded by a wide border with an rer vases and flowers on a black ground in similar colors. Thr {_ Dorrly he tet Jot / y 4 9638 TWO EARLY NINETEENTH CENTURY ENGLISH TERRES- a a A \ jt : 2? yr 965 TRIAL AND CELESTIAL WORLD GLOBES Supported by turned column on three shaped legs. By J. Addison, Lon- don, England. (2) SMALL EIGHTEENTH CENTURY ENGLISH MAHOGANY CHEST ON STAND Sheraton period. Chest inlaid with band of satinwood encircling inlaid oval medallion representing mermaid and a reptile, surrounded by an in- laid leaf and scroll decoration; corner inlaid with rosettes; sides deco- rated in a similar manner. Inlaid stand supported by four tapered legs. EIGHTEENTH CENTURY ENGLISH LADY’S SATINWOQOD WORK AND WRITING TABLE Adjustable top covered in original leather below which is a sliding work bag of red damask; fitted with one drawer and sliding screen back; on four square tapering legs, with mahogany inlay. ~ 168 967 971 972 EIGHTEENTH CENTURY ENGLISH CIRCULAR MAHOGANY LIBRARY TABLE Sheraton period. Border inlaid with bands of satinwood. Original green leather top fitted with four drawers and four dummy drawers, inlaid with bands of satinwood and fitted with turned wood handles. Supported by turned column standing on four shaped legs. EIGHTEENTH CENTURY ENGLISH WALNUT WING CHAIR Queen Anne period. Legs carved at the knees in a shell design and terminating in club feet. Upholstered and covered in flowered broca- telle; loose cushion. EIGHTEENTH CENTURY WRITING DESK Queen Anne period. Moulded edge, fitted with one long writing drawer with fall-down front, the interior of which is fitted with small drawers and Kneehole composed of a cupboard enclosed by door; moulded base standing on four block feet. ENGLISH WALNUT KNEEHOLE compartments; below, on each side, are three small drawers. EIGHTEENTH CENTURY SCREEN Adam period. ENGLISH MAHOGANY FIRE Shaped silkwork panel with a leaf-carved mahogany frame surmounted by a scroll and leaf carving; standing on scroll feet. EIGHTEENTH CENTURY ENGLISH SATINWOOD COMMODE Sheraton period. Shaped top with a half-circular medallion in the centre representing female figures; scroll and shell border; below are three cupboards, the centre enclosed by two concave doors, the side cupboards each enclosed by a convex door with oval medallions in the centre representing classical female figures surrounded by bands of hare- wood. On six square tapered legs. : EIGHTEENTH CENTURY ENGLISH MAHOGANY WRITING TABLE Chippendale period. ‘Top covered in old morocco pad and surrounded by a band of mahogany; moulded edge carved in a leaf pattern. Apron fitted with one long drawer, the interior of which is fitted with writing compartments. On fretwork legs carved in a Gothic design, connected by spandrels. EIGHTEENTH CENTURY ENGLISH MAHOGANY WING CHAIR Chippendale period. Square legs, carved in a floral design; upholstered and covered in a red damask; loose slip cushion. 169 973 4) mn J. O74 : 975 0 -976 or a . l; t C ¥ EIGHTEENTH CENTURY ENGLISH SATINWOOD FIRE SCREEN Sheraton period. Corners inlaid with various woods in a floral design. | Supported by four scroll feet inlaid in a similar manner. Fitted with sliding silkwork panel. EIGHTEENTH CENTURY ENGLISH MAHOGANY CONSOLE TABLE Sheraton period. Lift-up top inlaid with nautilus shell and border with narrow band of satinwood; inlaid rosetted dies; on four square tapering legs. EIGHTEENTH CENTURY ENGLISH SATINWOOD HALF-CIR- CULAR CONSOLE TABLE Sheraton period. Top inlaid with a shell design, border inlaid with a floral band; rosetted dies. On four square tapering legs inlaid in a similar manner. TWO EIGHTEENTH CENTURY ENGLISH MAHOGANY BOOK- CASES 4 a Chippendale period. Top part formed as a cabinet enclosed by two glass panelled doors of a Gothic arch design, surmounted by moulded cornice designed in a similar manner. Lower part with moulded edge and panelled doors enclosing a cupboard. On moulded base. (2) EIGHTEENTH CENTURY ENGLISH MAHOGANY BOOKCASE Chippendale period. ‘Top part formed as a cabinet enclosed by two glass panelled doors of a Gothic design surmounted by moulded cornice carved in a similar manner. Lower part with moulded edge and two panelled doors enclosing a cupboard. On carved and moulded base. Similar to the preceding. EIGHTEENTH CENTURY ENGLISH SATINWOOD COMMODE Sheraton period. Shaped top, inlaid mahogany border; fitted with four drawers with turned ivory knobs; inlaid scrolls and flowers; lower part formed by cupboard with shutter doors, inlaid leaves, scrolls and flowers in various woods on a satinwood ground. On shaped and moulded base inlaid in a similar manner. | KIGHTEENTH CENTURY ENGLISH MARBLE MANTELPIECE Adam period. 170 980 EIGHTEENTH CENTURY ENGLISH MAHOGANY SCREEN me Sheraton period. On the left upsliding panel with two extension panels = S of red damask; frame inlaid with bands of satinwood; on four scroll feet connected by understretcher. 981 EIGHTEENTH CENTURY FRENCH CARVED WOOD AND GILT SIDE TABLE Sg Louis Seize period. Front and sides carved in a leaf and scroll pattern ; rosetted dies; on turned tapering legs; original gray marble top. 982 EIGHTEENTH CENTURY ENGLISH CARVED WOOD AND GILT CONSOLE TABLE Queen Anne period. Top with moulded edge carved in a scroll design; y/ 1.0 below is a female head on the side of which are leaves and scroll; sup- ported by cabriole legs terminating in scroll feet, standing on a square platform with leaf-carved and moulded edge and in the centre of which is a shell carving in relief. Original colored marble top. 983 SET OF FIVE SEVENTEENTH CENTURY WALNUT SIDE CHAIRS Stuart period. High backs with leaf, shell and scroll carved pediments. / OO Twisted side rails surmounted by urn finials; supported by turned bell- shaped legs connected by crossed moulded understretcher holding an urn pola the centre. Seats and backs upholstered and covered in Flemish tap- estry worked in a design of large floral bouquets in bright colors on a tan ground. (5) 984 SET OF FIVE SEVENTEENTH CENTURY WALNUT SIDE CHAIRS . / po Similar to the preceding. (5) 985 EIGHTEENTH CENTURY ENGLISH FOUR-FOLD EMBOSSED AND PAINTED LEATHER SCREEN ¥/° Decorated with a design of birds, fruit and flowers in many colors on an embossed scroll and leaf ground. 986 EIGHTEENTH CENTURY ENGLISH MAHOGANY TRIPOD TABLE Chippendale period. Circular pull-up top; on square column carved with fleur-de-lys. Standing on three cabriole legs carved at the knees. 174 987 EIGHTEENTH CENTURY ENGLISH MAHOGANY KNEEHOLE DESK Chippendale period. Top edge carved in a ribbon motif. Pedestals a O — fitted with three drawers and supported by bracket feet. The recess sec- as tion is fitted with a cupboard with drawer above. 988 EIGHTEENTH CENTURY ENGLISH MAHOGANY LIBRARY TABLE | Sheraton period. Circular top covered in brown leather surrounded by 4 O satinwood border; fitted with eight drawers, inlaid in a similar manner ; * supported by four turned columns on four shaped legs. 989 EARLY EIGHTEENTH CENTURY ENGLISH EXTENSION DINING TABLE ;) Top inlaid in a geometrical design and small panels of rosettes. Base f carved on sides and ends with leaves and flowers in relief. Mask-head | corners; supported by four turned and leaf-carved columns connected by moulded understretcher standing on four lion’s feet. 990 SET OF FIVE EIGHTEENTH CENTURY ENGLISH MAHOG- ANY SIDE CHAIRS A Adam period. Backs formed by shaped panel with a carved leaf and a flower fretwork; on two shaped supports with oval panel in the centre, yy carved fleur-de-lys; plain moulded apron; rosetted dies; on turned fluted tapering legs. (5) 991 EIGHTEENTH CENTURY ENGLISH MAHOGANY SIDE TABLE /, a, Sheraton period. MHalf-circular lift-up top, inlaid with a broad band of satinwood; on square inlaid tapering legs. 992 EIGHTEENTH CENTURY ENGLISH MAHOGANY CONSOLE TABLE ( 0 O Adam period. Half-moon shape; front carved with festoons and rosettes ; dl on square tapered legs carved with fleur-de-lys. Marble top with fes- toons of leaves inlaid in various colored marbles. 993 EIGHTEENTH CENTURY ENGLISH FIVE-FOLD LEATHER SCREEN ‘é Each fold decorated with a design of floral wreaths on a gold ground; AT in the centre, suspended by a bow-knot, is an oval medallion of a clas- | sical figure in grisaille. 172 994 999 EIGHTEENTH CENTURY ENGLISH MAHOGANY SECRE- TAIRE-BOOKCASE Sheraton period. Upper part composed of a cabinet enclosed by oval mirror plate surrounded by bands of satinwood; rosettes in corners ; surmounted by cornice with fluted apron; rosetted dies, above which is an oval panel with leaf and fan carving. Carved urn on each end. Lower part composed of cylinder secrétaire, the interior of which is fitted with small drawers and compartments. Below is a cupboard enclosed by two doors with oval panels of satinwood inlay, carved rosettes in corners; above, two small drawers; with original brass knobs; on moulded base. EIGHTEENTH CENTURY ENGLISH MAHOGANY SIDE TABLE Hepplewhite period. Shaped top, plain sides and apron; fluted dies; standing on square fluted tapered legs. EKIGHTEENTH CENTURY ENGLISH MAHOGANY TABLE Sheraton period. In two parts with a single drop-leaf. The ends are ovoid, the legs square and tapered, the apron edged with a narrow inlay in satinwood. The cartouche above the legs has an oval inlay. SET OF SIX EIGHTEENTH CENTURY ENGLISH PAINTED ARMCHAIRS Adam period. Backs formed by shaped top rails with cross splats in the centre; shaped arms on column rests; supported by turned tapered legs; cane seats. The whole painted buff color. (6) EIGHTEENTH CENTURY ENGLISH MAHOGANY POLE | SCREEN Sheraton period. Panel supported by inlaid tripod stand. SET OF EIGHT EIGHTEENTH CENTURY ENGLISH PAINTED SIDE CHAIRS . Adam period. Carved top rail painted in a leaf and scroll manner; sides painted to simulate columns; square tapered legs connected by arch-shaped stretchers. (8) 1000 EIGHTEENTH CENTURY ENGLISH MAHOGANY TRIPOD cS 1001 Ey? TABLE Plain circular top, edge carved in acanthus leaves; carved and fluted support, on three carved and fluted legs. SET OF FIVE EIGHTEENTH CENTURY ENGLISH PAINTED LEATHER PANELS Decorated in the centre with a design of birds, flowers and leaves in colors on a gold ground. Above and below is a wide border with a basket of flowers. (5) 1003 1006 EIGHTEENTH CENTURY ENGLISH SMALL TRIPOD TABLE Chippendale period. Shaped tray top on turned column, supported by three shaped legs carved at the knees. EIGHTEENTH CENTURY ENGLISH MAHOGANY TRIPOD TABLE Chippendale period. leaves; fluted columnar support carved at the base in a scroll design ; Octagonal top with edge carved in acanthus on tripod stand, legs carved at the knees. EIGHTEENTH CENTURY FRENCH TWO-TIER MARQUET- ERIE GUERIDON | On columnar stems, outcurved supports with acorn finials of gilded bronze, connected by two circular trays of diapered and tinted mar- queterie of a variety of exotic woods, with fine inlays of hollywood. TWO FRENCH WALNUT ARMCHAIRS Louis Seize period. Shaped backs carved in a leaf design; arm sup- ports carved with acanthus leaves; front and sides carved in a similar Rosetted dies; turned and fluted tapering legs; seats and (2) manner. backs upholstered and covered. AN IMPORTANT EIGHTEENTH CENTURY ENGLISH BLACK LACQUER CABINET ON STAND Queen Anne period. Made in two portions. The upper part is com- posed of a cabinet enclosed by two doors decorated with a design of Chinese figures and, on the left, may be seen a seated figure of a god; a similar figure appears on the right. The whole is beautifully done in bright gold on a black ground; original key escutcheon plate, cor- ners and hinges fretted and engraved in a flower and pagoda design. The returns bear a decoration of water-birds and flowers on a black ground and are furnished with their original brass drop handles. The interior is fitted with ten various size drawers all decorated with trees, flowers and leaves. The reverse of the doors is decorated with a con- ventionalized design of flowers and leaves. The lower part is supported by spirally twisted legs connected by simi- lar crossed understretchers supporting, in the centre, an urn finial; decorated with a running design of sea serpents. | returns with designs of pagodas, trees, and leaves. Above is an oblong panel decorated with dragons, in gold and bright colors. (From the Collection of Lord Powerscourt, Powerscourt, Ireland) 174 Shaped apron and 1007 1009 1010 TWO EIGHTEENTH CENTURY FRENCH CARVED AND PAINTED WOOD ARMCHAIRS Louis Quinze period. Shaped backs carved on the top in a leaf and flower design; similar carvings at corners; scroll arms on leaf-carved shaped supports; front carved in the centre in a shell pattern inset with flowers; at either side are leaf, flower and scroll carvings; sides carved in a similar manner; on cabriole legs with shell carving at knees, terminating in scroll carved feet. Seats, backs and arms upholstered and covered with a flowered brocade. (2) EIGHTEENTH CENTURY ENGLISH MARBLE MANTEL- PIECE Adam period. VERY IMPORTANT EIGHTEENTH CENTURY ENGLISH MA- HOGANY CIRCULAR LIBRARY TABLE BY THOMAS CHIP- PENDALE The circular top is divided by fleur-de-lys and scroll carvings into four sloping desk tops; each bordered by a wide band of mahogany and a rail and covered with a black morocco tooled pad: at the top of each pad are receptacles for inkwells and pens. ‘The top is surmounted by a square cabinet with panelled doors of richly figured mahogany, each enclosing a cupboard fitted with compartments and facing each desk top; above are scroll traceries; the dies are in the form of fluted col- umns with leaf-carved bases. The lower part, which supports the circular top, is composed of four pedestals, each fitted with four drawers with their original brass drop handles; and flanked by fleur-de-lys festoons suspended from flowers. Standing on moulded base carved in an acanthus leaf manner. TWO EIGHTEENTH CENTURY FRENCH GILT SIDE CHAIRS Louis Seize period. Oval backs, carved flowers; front and sides carved yin rye with festoons; on round fluted tapering legs. Cane seats and backs. 1011 (2) TWO EIGHTEENTH CENTURY FRENCH CARVED AND GILT WOOD SIDE CHAIRS On Louis Seize period. Beaded backs carved in the centre with fleur-de- ay, Do lys; front and sides with wheel pattern carving on carved and fluted tapering legs. Seats and backs upholstered and covered in a buff- colored damask. (2) , 175 —— wy 1018 CHARLES DICKENS 1012 EIGHTEENTH CENTURY ENGLISH CARVED MAHOGANY SECRETAIRE-BOOKCASE BY THOMAS CHIPPENDALE In two parts: lower composed of four long drawers faced with scrolled, moulded, oblong panels fitted with four finely chased, scrolled escutcheon plates and rosetted drop-handles of bronze. The body rests on a leaf and lozenge carved ogee moulding supported by four boldly curved legs terminating in claw feet. The hinged desk flap is carved with scrolled mouldings which are joined by oak-leaf and honeysuckle mo- tives and floriated festoons in low relief. ‘The interior is fitted with long drawers with their original tracery in the Chinese taste and arched pigeonholes. In the centre is a cupboard enclosed by a door faced with an uncommonly carved leaf and husk relief. The upper portion forms a bookcase with octagonally mullioned and glazed doors; stiles carved with beribboned floral festoons. ‘The cornice is enriched with traceries in the Chinese taste and is headed by a handsome gallery designed to form a balustrade with moulded vase-shaped balusters crowned by urn-shaped finial and cornucopie. [SEE ILLUSTRATION | J. G. G. ZIMMERMAN ENGLISH, SECOND HALF OF THE ETCHTEENTH CENTURY IF Profile portrait from life of the Author in his early fifties presented to the Dickens Society by Sir W. A. Fraser, Bt. 176 EIGHTEENTH CENTURY ENGLISH CARVED MAHOGANY SECRETAIRE-BOOKCASE BY THOMAS CHIPPENDALE [1012] 1014 PAINTED WAINSCOT BY JACOB DE WITT Composed of 5 large canvasses, and one overdoor, decorated with : cae rocaille scrollings and floral festoons and entwined with volvolus and ) | with paintings of pastoral figure subjects in the spirit of Lancret, with NaS background of landscapes and imaginatively composed architectural de- any / tails. The dadoes with groups of putti en camaieu. Light jade-green ~ f colored ground. ‘These panels were removed from a room in an old Ag house in Groeningen. Jacob de Witt, 1695-1754, was a Dutch painter of the eighteenth cen- tury. He attained unusual distinction as a decorator of interiors even more than as a painter of easel pictures. Some of these latter, however, are to be found in the leading galleries of Europe. Height of each panel, 11 feet 3 mches. Width of two, 18 feet and 7 feet 3 wches. Width of each of others, 7 feet 5 mches.& [SEE ILLUSTRATION | 1015 TWO EIGHTEENTH CENTURY FRENCH CARVED AND PAINTED WOOD ARMCHAIRS | 5; Louis Seize period. Backs divided into two panels by leaf-carved ie) eee strips; scroll arm supported by urn-shaped columns; front and sides J ' ; with leaf carvings; on turned tapering legs. Upholstered and cov- ; ered in a striped silk. (2) 1016 SET OF FOUR LOUIS SEIZE WALL APPLIQUES Centre stem in the form of a fluted torch with ram’s head carving in ke GA {Z ere t~ relief in centre, above which are three seroll-shaped leaf-carved arms supporting bobeches and candle holders. (4) 1017 SET OF FOUR LOUIS SEIZE WALL APPLIQUES 0} pot Ne Ae mae Prete Oe ee (Fe) ae eee CENTURY FRENCH PETIT POINT PANEL Louis Quinze period. Composed of a centre panel representing a seated ifs female figure framed by lightly colored leaves and scrolls, above which 0 is suspended a basket containing multi-colored flowers. At the ex- treme left and right may be seen parroquets with richly colored plum- abo fet surrounded by conventionalized leaf, flower and scroll design. The whole worked in blues, blue-greens, reds, tans and canary-yellows in silks on a cream-colored ground. Size, 7 feet 3 inches x 8 feet 4 inches. 1019 EIGHTEENTH CENTURY FRENCH PETIT POINT PANEL Louis Quinze period. Composed of a conventionalized pattern of leaves [32 and flowers worked in bright greens, blues, and browns in silks on a canary-yellow ground. Size, 6 feet 4 inches x 4 feet 10 inches. 178 PAINTED WAINSCOT BY JACOB DE WITT [1014] 1020 4nd) 4 / 1021 SIXTEENTH CENTURY FRENCH WALNUT ARMOIRE A DEUX CORPS WITH CARVINGS BY GERMAIN PILON Made in two portions, the upper part composed of a cabinet with two doors, recess panelled and carved with figures of Saint Hubertus and a motif of Diana in low relief, between three-quarter and half columns of the Corinthian order with fluted shafts and carved plinths and headed by a superbly carved frieze of winged seraphim recumbent on scrolls and cherub-head corners with conventionalized wings; the returns are furnished with protruding panels with rosetted centres. Beneath are two drawers carved with recumbent figures of deities; the returns with scrolls, and the dies conventionalized amorini heads and a centre female mask. ‘The lower portion in the form of a buffet with two doors and two drawers carved with historical and mythological subjects, with dies of boldly carved winged cherub heads and stiles of three-quarter and half fluted columns, the plinth carved in oak-leaf tracery and capitols in acanthus. Sturdily moulded base. The rich surface condition and the excellent state of preservation of this Renais- sance cabinet deserve particular attention. [SEE ILLUSTRATION | SET OF SIX EIGHTEENTH CENTURY BEAUVAIS TAPES- TRY WALNUT ARMCHAIRS Louis Seize period. Tapering fluted supports, shaped seat rail, moulded and carved shield-shaped backs, moulded gently sloping arms and armrests. Backs and seats covered with exceptionally fine Beau- vais tapestry composed of bouquets of garden flowers tied with ribbons of blue on a cream-colored ground, framed as reserves by rose-crested fringed and tasselled draped canopies on a dark golden-yellow ground. (6) EIGHTEENTH CENTURY FRENCH PAINTED GREGOIRE VELVET SCREEN Louis Seize period. Composed of three panels. The centre painted with a central composition of a stag rising from dense foliage with two hounds ready to attack; above is a hunting horn suspended from fes- toon scrolls. ‘The left panel represents a fowl beneath a fruit-laden tree, and an eagle, with outspread wings, about to descend upon its prey; above, from scrolls, is suspended a hunter’s bag. The right panel is painted in singerie and bird subjects beneath a feathered canopy. Done in soft blues, greens, and tans on a cream-colored ground. In a carved oak frame of a later date. The velvet paintings of Gregoire, which were claimed to have been exe- cuted at the same time as the fabric itself, were in great esteem towards the end of the Louis Seize and Directoire periods, and fetched very high prices. 180 SIXTEENTH CENTURY FRENCH WALNUT ARMOIRE A DEUX CORPS WITH CARVINGS BY GERMAIN PILON [1020] SET OF SIX LARGE LOUIS SEIZE ORMOLU WALL AP- PLIQUES Centre stem with urn carved in relief holding festoons of flowers and leaves on the top; in the centre is a basket containing flowers and holding four scroll-shaped arms from which hang draped pendants, and supporting leaf-carved bobéches and candle holders. (6) EARLY SIXTEENTH CENTURY FRENCH OAK BAHUT Formed by a cabinet designed in three tiers, the bottom arched and faced by panelled stiles carved with formal arabesques resting on a panelled platform with a wainscot backing. The cornice moulding is enriched with four uncommonly protruding rosetted studs, the second tier bears three panels with medallions of the heads of patricians and two narrow panels with flute festoons suspended from winged amorini heads; the front is also faced with two half vase balusters carved with acanthus leaf and fitted with one door. The third and uppermost tier is enriched with Corinthian capitols cresting the panel stiles, and fur- nished with two doors and two return panels carved with bust medal- lions of noblemen and women in a frame of oak-leaf scrolls. Moulded cornice. SIXTEENTH’ CENTURY ASTURIAN CARVED AND POLY- CHROMED STATUE OF ST. JUAN THE BAPTIST BY JUAN MARTINEZ MONTANEZ Life-sized upstanding figure of the Saint cloaked in a fur-lined garment with a cloak thrown over his shoulder of crimson and gold painted with borders of putti and arabesques. The ascetic expression of the youth- ful saint with curling hair and a superb modelling of arms and limbs designate the master. An amulet of a rosetted bronze chain is thrown around his neck; it bears the emblem of the lamb. The sculpture stood in the convent of La Nuestra Senora de la Con- ception at Seville. Martinez Montajfiez was born at Seville in 1568. He became one of Spain’s most celebrated sculptors and many of his works are now in the Museum of Seville; amongst others, there is a statue of St. John the Baptist similar to the one above. His last efforts were achieved when he was nearly eighty years of age. He holds a similar position in sculpture to that of his contemporary Murillo in painting. [SEE ILLUSTRATION | 182 STATUE OF ST. JUAN THE BAPTIST BY JUAN MARTINEZ MONTANEZ [1025] TWO CARVED AND GILDED CONSOLE TABLES LOUIS SEIZE PERIOD [1026] 1026 TWO VERY IMPORTANT CARVED AND GILDED CONSOLE TABLES Louis Seize period. On bold leaf-carved and festooned scroll supports JS Jv ty connected by saltirewise underframing, handsomely carved and crested . by an eagle perched upon an acanthus leaf and with vines suspended from his outspread wings. Broad apron carved with a rosetted guil- ’ loche and furnished at the four corners with ram’s heads mascarons and a Bacchic mask, leaf and bead cornice carving. Contemporary richly figured veneered marble top. (2) : / ry [| SERTILL ae ) 8 Ap CAs [ Ni) ; We 1027 CARVED AND GILT GEORGIAN MIRROR [1027-1028] A VERY IMPORTANT EIGHTEENTH CENTURY CARVED AND GILT WOOD MIRROR Georgian period. Oblong mirror plate; frame with scroll carving at sides and top and acanthus-leaf carving in corners; surmounted by a large shell, leaf and scroll pediment. The bottom, with festoons of flowers and leaves held by bow-knots; at the extreme sides on the top are leaf and floral carvings. | SEE ILLUSTRATION | A VERY IMPORTANT EIGHTEENTH CENTURY CARVED AND GILT WOOD MIRROR Similar to the preceding. | SEE ILLUSTRATION | 185 EIGHTEENTH CENTURY PAINTED WAINSCOT OF “THE FOUR SEASONS”: LOUIS SEIZE PERIOD A. Summer. The centre occupied by a couple dressed in Louis Quinze costumes. A young lad in fawn-colored velvet with a green cloak seated on a grassy bench, a maiden, dressed in a tight-fitting jade- green velvet hunting jacket with puffed shoulders and wearing a quaint cockaded bonnet. The group is flanked by tall trees and rests upon a boldly scrolled rocaille platform. The centre formed by a rocky shaped member simulating the borders of a lake. Macaws are perched upon scrolls and branches and vine-clad satyr stele rise from the upper ends of volutes. The top is furnished with a wreath of roses holding a portrait medallion of a young woman. The colors are pre- dominatingly olive-green and golden-yellow, with brilliant hues on the © bird’s plumage. B. Sprixc. Similarly composed to the preceding, but with a centre occupied by a seated couple with a youthful lover m gray tendering a bouquet of flowers to a young woman in a tight fitting rose-colored bodice with long gracefully draped over-skirt. The picture is enlivened with a brilliantly colored macaw, a cockatoo and parroquets perched upon branches. | C. Aurumy. Nearly square panel occupied by centre motif of a min- strel seated on a bench near a young handsome woman who pours wine from a flask, a basket filled with grapes. This composition is flanked by vines and trees on voluted scrolls centred upon a bracket painted crimson and gold. D. Winter. Depicted by a young noblewoman in a fur-trimmed gar- ment with an ermine muff and fur-trimmed rose-colored kepi; seated in a sled of uncommon spindle-back form, and pushed by a young ad- mirer in rich rose-colored velvet with a loin cloth cf skin, over a frozen lake at the side of which can be seen an island with a lone house and leafless trees. Composition similar to above. 7 Two overdoors, one painted with a pastorelle of a richly clothed noble- woman playing a lute while her graceful attendant dances to her music: background of a garden wall with urns and deep green verdure. ‘The other, with two lovers in a forest clearing, seated in reverie. A large piece of canvas painted with the olive-green background of the borders, and cream centre without decoration to cover a door opening, completes the set. Sizes, Y feet 3 inches x 21 feet 10 mecehes. 9 feet 3 inches x 9 feet. 9 feet 3 inches x. 8 feet 7 ncnem 9 feet 3 mches x 22> fea 3 feet 9 mches x 4& feet 4& imches. 4 feet 1 wnch x & feet 5 inches. 9 feet 3.inches x 3 fee | SEE ILLUSTRATION | 186 ot | iG EIGHTEENTH CENTURY PAINTED WAINSCOT OF “THE FOUR SEASONS” [1029] 1030 1031 0: e TWO IMPORTANT EIGHTEENTH CENTURY CARVED AND GILT WOOD TORCHERES Adam period. Circular top, ¢ carved in a design of mask-heads, sur- rounded by leaf scrolls; fluted underpart with large leaf-carved pen- dants in centre. Held by three scroll-shaped supports with leaf carv- ing at the top; holding one large and one small shelf, carved in a floral and leaf decoration. The supports terminate in heavily carved scroll feet and stand on triangular bases. (2) TWO IMPORTANT EIGHTEENTH CENTURY CARVED AND GILT WOOD TORCHERES Similar to the preceding. (2) EIGHTEENTH CENTURY ENGLISH MORTLAKE TAPESTRY CARPET Composed of a conventionalized design of roses, tulips, daisies and vari- ous other flowers and leaves worked in bright reds, blues, greens and whites on a maroon-colored ground. Size, 13 feet x 8 feet. SMALL FRENCH AUBUSSON CARPET Centre decorated with an oval medallion representing a bouquet of vari- ous flowers worked in bright colors and garden implements: surrounded with conventionalized scrolls and leaves. The outer border is com- posed of bouquets of flowers with festoons on either side; worked in bright reds, blues, and greens on a rose ground. Size, 15 feet 2 inches x 11 feet 3 mches. en S\fS8 eae Jo ) BO Vey | | Dadttang ; THE HENRY SYMONS TAPESTRIES To the Henry Symons Collection can be justly applied Seymour de Ricci’s proud comment on the fine objects of French Cabinet-work which are illustrated in his book on Louis Seize Furniture: “These valuable works form, in the rather mixed world of art objects, a veri- table aristocracy, jealous of its rank and pedigree.” There is a hierarchy in the realm of Tapestries as in other provinces of Art: tapestries for the king’s throne room and others like those described in the Report to Henry VIII of the Commissioners to Reading Monastery: “which would hang a mean little chamber in the king’s house.” It was the custom of Francois Premier and of Henry VIII of England to send emissaries to the Lowlands, claiming to be buyers of “Arras,” but in reality gathering political information. These agents spared no money and gained the favor of the natives by lavish purchases. Henry VIII’s “‘oourmandise” for Tapestries is recorded in over two thousand pieces ranging from the richest examples, woven in gold and silver, to the coarsest hangings of ver- dure, a fancy followed by nobles. The outcome of this great demand upon the weavers was cupidity and, in the short run, commercialism: attempts to market Tapestries of an awkward design and coloring and slipshod weave. The low warp looms of Flanders and, in the eighteenth century, those of Au- busson turned out “pot-boilers” in the spare time between serious commissions, of which a goodly lot has come down to us, obscuring the vision of the amateur. In collecting his Tapestries, Mr. Henry Symons has refrained from acquisition unless he felt the master’s hand. Rarely has there been an exhibition of Tapes- tries selected with such knowledge of the decorative requirements of the day for skill of composition and harmony of color. 1034. SEVENTEENTH CENTURY BRUSSELS GOLD AND SILVER THREAD TAPESTRY BY JEAN FRANCOIS VAN DEN HECKE (1676) SumMER. At the right appears the seated figure of Ceres represented by a Court lady dressed in Louis Quatorze costume and holding a #©"_ torch in her left hand and sheath in her right. She is surrounded by su- perbly cloaked allegorical figures whose cloaks are richly embroidered with gold and silver threads, some in an intricate lace pattern; the centre is marked by a fruit-laden vase worked with scrolls of gold left appears a group of two handsomely attired goddesses, one repre- / Lt thread, and landscape filled with bathing nymphs and verdure. To the ) senting Diana with a lion at her side, and a harvesting landscape be- yond. Superb border of groups of garden flowers enlivened with macaws, flower urns, and emblems of love. The top and bottom border are designed with flower and fruit scrolls and a great variety of em- blems with the design spreading into the tapestry. The top in a car- touche is inscribed “Aestas.” The tapestry is signed with the Brus- sels mark. Size, 12 fect 6 inches x 16 feet 2 inches. 189 1085 SEVENTEENTH CENTURY BRUSSELS GOLD AND SILVER THREAD TAPESTRY BY GERARD PEEMANS: “THE MAR- RIAGE OF ZENOBIA, QUEEN OF PALMYRA, TO ODENA- THUS” In the centre appears the majestic figure of the powerful queen cloaked ‘n blue with the borders of her robe embroidered with bands of gold and silver bullion heightened with crimson and designed with bees and lozenges. She wears a broad girdle worked in a similar manner, and a gold and silver embroidered diadem. Her outstretched right hand is ‘linked with the hand of Odenathus in royal gold and silver embossed mail and with a wreath in his curling hair. Beneath stands a cupid with a crimson drapery thrown around his shoulders, which is enriched with gold threads. To the rmght are seven youthful figures with gifts and symbols with their hair richly dressed in the Louis Quatorze fashion. To the left the scene of a sacrifice with priest in a flowing blue soutane recalling Zenobia’s blue cloak, and Bacchic putti with vineleaves in their hair, and beyond soldiers in armor. he centre is headed by putti in flight carrying emblems of love. Magnificent border on four sides, the Q . top composed of bold floral swags and two-handled urns flanking a car- touche with an explanatory Latin inscription: “Maris Emans Recrna ZenNoBiA AD Previa Tentip. Est Brerir sus Opon. Isa Viraco Carutr.” The stiles are composed of imaginatively designed fountains with dolphin spouts crested by fruit-laden urns, above which are fes- toons of garden flowers and feathers held by winged cupid. The bot- tom border composed of a formal urn on claw-foot supports flanked by intertwined fruit festoons. ‘The bottem is signed with the Brussels signature and the letters of the weaver, G. PEEMANS. The above tapestry is mentioned in “Histoire Générale de la 'Tapisserie,” Flemish section, and also in Wauter’s “La Tapisserie Bruxellois.” Size, 18 feet 8 inches x 17 feet 11 inches. 4790 ! [1036] 1036 EARLY EIGHTEENTH CENTURY BRUSSELS TAPESTRY BY LECLERC: “FISHING AT ANTWERP” A pleas the right background appears the rounded silhouette of the Steen, with canopied pavilions and figures, and beneath in blue waters three fishing boats with fishermen pulling in their nets; and to the right a stone dock with fishermen emptying their baskets and a group of burghers. Woven in soft tones of rose, blue and grisaille, with silk threads predominating. The border simulating a carved wood frame is signed with the Brussels mark and the letters LeCiterc. (From Lord Ravensworth, Ravensworth Castle, Durham) ; | Size, 10 feet 8 inches x 8 feet 5 inches. 191 d 1037 SARLY EIGHTEENTH CENTURY VALENCIENNES TENIERS TAPESTRY: “THE VILLAGE DANCE” The right and left foreground occupied by a group of youthful peas- ants surrounding two pairs of dancers, of which one is clothed im crimson and green, with a feathered béret on his head, and wears around his shoulders a ribbon from which hangs a decoration of an eagle with outspread wings. A group of musicians surrounded by peasants holding stone jugs and drinking glasses. Background of a farmhouse screened by soft green bushes in bloom, duck ponds, and beyond, hamlets and the blue-green plain in the far distance. To the right in front of a group of trees appears a gayly trimmed Maypole. Border to simulate carved wood frame. The drawing of the figure subjects represents Teniers in his best period influenced by Rubens’ mastery. Size, 10 feet x 9 feet 8 mches. LATE FIFTEENTH CENTURY CATALAN TAPESTRY PAN- EL: “FROM THE HISTORY OF HERODIAS” In the upper background is a fortified tewn with a round towered gate from which emerges a procession of burghers behind King Herod, kneeling before the crowned upstanding figure of Salome hold- ing the head of St. John. Behind Salome appears an attendant with a bag about to receive the head of the martyr. The entire centre fore- ground is filled with a group of guardsmen in medieval armor. with helmets and feather-crested berettas. Ground of foliage and game birds in the Mille Fleurs manner and two upright stiles designed in a rich fruit and flower pattern, in crimson and green blues in the Gothic taste. The delicate treatment of the subject of Herodias is especially note- worthy. Size, 10 feet 2 inches x 8 feet 8 inches. [SEE ILLUSTRATION | Loe LATE FIFTEENTH CENTURY CATALAN TAPESTRY PANEL “FROM THE HISTORY OF HERODIAS” [1038] 1039 EARLY EIGHTEENTH CENTURY AUDENARDE TAPESTRY PANEL: “LA CHASSE CHAMPETRE” Occupied by a composition of two archers dressed in blue and amethyst- colored velvet, and groups of lovers in verdure, surrounded by a hand- some floriated scroll border worked in multi-colored hues on a dark brown ground. Size, 8 feet 10 inches x 7 feet 6 inches. [SEE ILLUSTRATION | 194 t t t F t [1040] 1040 EARLY EIGHTEENTH CENTURY AUDENARDE TAPESTRY PANEL: “LE JEU CHAMPETRE” Occupied by two children in pretty Louis Quatorze costumes, cach hold- ing a cane in an effort of pulling: background of densely filled verdure, and a village with tower beyond. Border similar to the preceding. Size, 9 feet x 7 feet '7 inches. [SEE ILLUSTRATION | 195 [1041] SEVENTEENTH CENTURY NEEDLEWORK AND WALNUT WING SOFA om 8 toni lee z | ua a frame of four voluted and leaf-carved sup- ports connected by moulded and scrolled front rails of a design of a sturdy but exceptionally graceful pattern. The rectangular back, down cushion seat and sloping wing arms are covered with an infinite variety of imaginative figures, flowers and bird subjects, such as the précieuses of the Court of the Grand Monarch in classical poses sur- rounding a Bacchic youth and others gathered about Neptune’s chariot drawn by two winged horses, detached floral sprays in the Persian taste, birds in heraldic posture and others perched on the trunks of trees in bloom. he figures are worked in an exceptionally fine petit point silk needle stitch, while the flowers are of gros point in soft greens, crimsons and tans on a cream-colored ground. 1t is now almost impossible to find a settee of such importance coy- ered all over with original needlework of this quality, untouched by the wear of time. / : \ [SEE ILLUSTRATION | 196 1042 Ms [1042] EARLY SEVENTEENTH CENTURY CARVED WALNUT CAB- INET Louis Treize period. Made in two parts. The lower portion 1s formed by a cupboard enclosed by two panelled doors, each door bear- ing carvings in high relief: they are composed of a lamp with scrolled handle and bearing a mast-head in the front; above is a coat of arms with tassels at the sides which are held by intertwined ropes ; fluted and beaded frame. The sides are flanked by fluted incurved columns resting TOT 1043 on a moulded base. Fluted cornice moulding. ‘The upper part is formed as a cabinet with drop front; in the centre is a carving of an urn with fluted sides, below which are festoons of leaves; above on the right, is a ram’s head. The panel is flanked, on the interior, by winged seraphim, and separated from the urn by scroll traceries. ‘The frame is carved in a wheel pattern. The sides are flanked by columns. The interior of the cabinet is composed of a small door holding a mirror panel, the frame of which is carved in a fluted manner; it is flanked on either side by four long drawers with wheel and scroll traceries ; above is a small drawer carved with a female head in the centre sup- porting a scroll and fluted arch, below is a drawer, the exterior carved in a fluted urn design. The cabinet is surmounted by a cornice arawer, which is secreted by an oblong panel with a lion mask-head in the centre. Moulded cornice. [SEE ILLUSTRATION | TWO DECORATIVE CEILING PANELS BY SIR JAMES THORNHILL: NIGHT AND DAWN Night is represented by the draped half-nude figure of Venus with a crescent in her hair, standing on a large crescent, and beneath a winged figure draped with a star-spangled cloth, who receives from a winged amour with butterfly wings the starlight, which banishes darkness. Be- neath are animals, emblems of night, sleep, death, and the passing of time. Dawn is represented by two winged genii, and the figure of Flora in flowing white robes held by a rose-colored girdle and holding in her hand a garland of roses. Flowers are tendered to her in a filled basket by a winged putto beneath her. Below are two draped nude figures of entrancing beauty pouring clear water from buckets on a rosy young amour who represents the newly born day. (2) | Size of each, 18 feet x 8 feet. Sir James Thornhill, the son of a gentleman of old family in Derby- shire, was born at Melcombe Regis, 1676. His father having been reduced to poverty, the son was-obliged to look out for a profession for support. He had conceived an early inclination for painting, and came to London, where his uncle, Sydenham, a well-known physician, - placed him under the tuition of Thomas Highmore. He had acquired considerable fame as a painter when he started on an expedition through Holland, Flanders, and France. On his return to England, he was appointed by Queen Anne to paint the cupola of St. Paul’s Cathedral, which he decorated with eight scenes from the history of the apostle. ‘These have been engraved in as many plates, by Du Bose, Beauvais, Baron, G. Van der Gucht, and Simoneau. He was after- wards employed in painting an apartment at Hampton Court with some emblematical subjects, relating to the histories of Queen Anne 198 TWO DECORATIVE CEILING PANELS BY SIR JAMES THORNHILL [1043] i { i i and her consort, Prince George of Denmark. He was employed on the decorative paintings at Greenwich Hospital, in the great hall at Blenheim Palace, on the saloon and hall at Moor Park, on the hall and staircase at Easton Neston, and on the chapel at Wimpole. He also painted altar-pieces for All Souls’ and Queen’s Colleges, at Oxford. These considerable works were very ill paid, and he found it difficult to obtain the stipulated prices. His demands were contested for his paint- ings at Greenwich; and though La Fosse, the French painter, received two thousand pounds for his work at Montague House, and five hun- dred pounds more for his support, ‘Thornhill could obtain only forty shillings a square yard for the cupola of St. Paul’s, and the same for Greenwich. Sir James copied Raphael’s cartoons, then at Hampton Court, being employed three years on the work. At the sale of his pictures after his death, these copies were purchased by the then Duke of Bedford, and were placed in a gallery in Bedford House, Blooms- bury. When Bedford House was taken down, the duke presented them to the Royal Academy. Sir James Thornhill was honored with the particular patronage of George I, by whom he was knighted, and-was elected to represent his native town in parliament. He died at Weymouth in 1734, leaving a son, John, and a daughter, who was married to William Hogarth. Thornhill has left a few slight etchings; among them an “Adam and Eve.” [SEE ILLUSTRATION, PAGE Eo 200 [1045 | Vasu [ 1044 | 1044 AN Tate oer OF SIX SEE MEEEEMPERCENTURY ITALIAN ARMCHAIRS Backs formed by two uprights with carved leaf and scroll gilt wood [sv finials, covered with tooled leather. In the centre is a coat of arms with leaf designs in corners. The whole is surrounded with floral bor- Cah ders. Plain moulded armrests held by turned supports. Square legs on moulded stretchers with claw feet. Seats upholstered and covered with plain brown leather. Leather apron with floral borders in gold. (6) [SEE ILLUSTRATION | WAGE 1045 AN IMPORTANT SET OF SIX S#A4EA-EEEMPEHR CENTURY ITALIAN ARMCHAIRS Backs formed by two uprights with carved leaf and scroll gilt wood finials, covered with tooled velvet. In the centre is a coat of arms with O leaf and scroll designs in corners. The whole is surmounted by floral } Bee oraere. Plain moulded armrests held by turned supports. Square legs on moulded stretchers with claw feet. Seats upholstered and cov- ered with plain brown leather. Leather apron with floral borders in gold. (6) [SEE ILLUSTRATION | 201 SIXTEENTH CENTURY TUSCAN CARVED WALNUT CENTRE TABLE (1046 | 1046 SIXTEENTH CENTURY TUSCAN CARVED WALNUT CEN- TRE TABLE On two bold vase-shaped trestles terminating in lion’s-claw supports, moulded in the form of volutes and carved with guilloche rosettes. Tel Fr) centre is furnished with a grotesque mascaron with festooned pendants —— centering upon a scrolled biped. The trestles are connected by a double vase shaped rail carved with honeysuckle volutes in bold relief. Original two-inch solid walnut top. [SEE ILLUSTRATION | 202 1047 1049 KIGHTEENTH CENTURY ENGLISH MAHOGANY WING CHAIR 7 Chippendale period. Carved scroll underpart supported by four legs carved at knees and terminating in ball and claw feet. Upholstered and covered in a floral silk damask. SEVENTEENTH CENTURY ENGLISH GROS POINT NEEDLE- WORK CARPET Stuart period. The centre is occupied by a reserve of a vase, from which rise stiff flowers flanked by macaws in heraldic posture worked in two-tone olive-green, orange-red and blue and cream on a black back- ground, and surrounded by trellised and floriated reserves on a diapered blue and amber-colored ground with a centre field of bold Persian arabesques on emerald. The entire carpet is bordered by arabesques of multi-colored silks on a black woolen ground. Size, 7 feet 514 inches x 4& feet 714 inches. SEVENTEENTH CENTURY FLEMISH TAPESTRY CUSHION Woven in a design of a cupid and worked in silver and woolen threads. SEVENTEENTH CENTURY FLEMISH TAPESTRY CUSHION Woven in a design of a cupid and worked in silver and woolen threads. EIGHTEENTH CENTURY ENGLISH WALNUT WRITING TABLE Queen Anne period. Moulded top; front fitted with two He and one shallow drawer; arched kneehole; on cabriole legs. SEVENTEENTH CENTURY ENGLISH CREWEL WORK COVER Stuart period. The centre is covered with a design of floral sprays and leaves worked in brilliantly colored wools; surrounded by a wide border with a similar running decoration. EIGHTEENTH CENTURY ENGLISH MAHOGANY TIP-TOP TABLE Chippendale period. Circular top with moulded leaf and shell carved edge; turned columnar support on three curved legs carved at the knees and terminating in ball and claw feet. SEVENTEENTH CENTURY RED SILK DAMASK COVER Conventionalized design of leaf sprays and flowers. 11 yards. 203 10498 EIGHTEENTH CENTURY ENGLISH RED LACQUER CABI- NET ON CARVED AND GILT STAND Queen Anne period. Made in two portions: the upper part formed as a cabinet, enclosed by two doors, the exteriors of which bear a raised decoration of Chinese scenes of pagodas, gardens, and figures, all painted in gold and black on a red lacquer ground. ‘The doors are fitted with their original chased hinges and large escutcheon plate. The ‘nterior of the cabinet is fitted with a system of small and large draw- ers, decorated on the outside with floral emblems and views of pagodas. The reverse of the doors is decorated in exotic birds, flowers and butter- flies. The lower part is composed of a stand supported by six scroll- shaped legs connected by understretchers, and from the top of which hang festoons of flowers and leaves; these are surmounted by female heads which support a moulding carved in an acanthus-leaf manner, and from which hang intricately carved festoons of flowers and leaves. [SEE ILLUSTRATION | 204 QUEEN ANNE RED LACQUER CABINET ON CARVED AND GILT STAND [10498] 1050 EIGHTEENTH CENTURY ENGLISH MAHOGANY WING CHAIR Chippendale period. On ball and claw feet. Upholstered and covered in floral and figured silk. Loose cushion seat. 1050a SIXTEENTH CENTURY FRENCH CARVED WALNUT AR- MOIRE A DEUX CORPS Made in two portions: the lower part rectangular in form. The front fitted with two doors and two cornice drawers; the doors are carved in low relief with figures of Philip of Macedonia and Alexander on horse- back, with the bodies of conquered kings under the horses’ hooves. In the right upper corner is a carving of a Gothic church; stiles carved with upstanding figures. ‘The moulded base rests on grotesque hippopota- mus and lions’ heads. ‘The frieze is carved with fruit rosettes flanked by sea horses and the dies faced with lion-headed mascarons. Panelled returns. The upper portion bears two recessed panelled doors carved with the figures of Frangcis Premier on a spirited feather-crested horse, and the Dauphin also on a horse rampant, with flying winged amorini holding a wreath above his head. The stiles are carved in high reef with armor-clad warriors, terminating in interlaced dolphin — bodies. The entablature is enriched with superbly carved rosetted arabesques and winged putto heads; it is headed by a niche flanked by fruit festoons and caryatides and boldly carved mermaid body ear brackets terminating in fruit voluted scrolls. The sides of the pedi- ment are crested by two motifs of putti riding on sea horses. Original wrought-iron key. | SEE ILLUSTRATION | 206 SIXTEENTH CENTURY FRENCH CARVED WALNUT ARMOIRE A DEUX CORPS [1050a | ~1051 QO as 10538 1054 EIGHTEENTH CENTURY ENGLISH SATINWOOD CARD TABLE Adam period. Top decorated with a painted border in a ribbon and floral design. Rosetted dies. On four turned and fluted legs. EIGHTEENTH CENTURY ENGLISH TRIPOD TABLE Chippendale period. Circular top, beaded edge on fluted column sup- port; standing on three legs carved at the knees. SEVENTEENTH CENTURY RED SILK DAMASK COVER Conventionalized design of leaf sprays and flowers. 514, yards. EIGHTEENTH CENTURY ENGLISH MAHOGANY SECRE- TAIRE-BOOKCASE Hepplewhite period. The top part composed of a cabinet enclosed by two panelled doors in a Gothic design, surmounted by a cornice in- laid with bands of satinwood, above which is a fretwork scroll pediment ; the lower part, with leaf carving, fitted as fall-front secrétaire contain- ing small drawers and compartments ; below are three long drawers with original brass drop handles. Standing on a moulded base and sup- ported by four scroll feet carved in a Gothic design. TWO EARLY NINETEENTH CENTURY ENGLISH SMALL TERRESTRIAL AND CELESTIAL WORLD GLOBES On turned column standing on three shaped legs. By Cary, London, England. Dated 1823. (2) : 208 SALE SATURDAY AFTERNOON, FEBRUARY THIRD, AT 2:30 EIGHTH SESSION NuMBERS 1055-1179 FRENCH AND ENGLISH FURNITURE AND IMPORTANT TAPESTRIES THIS COLLECTION OF MASTERPIECES of French Furniture, by Riesener, Oeben, Beneman, Dubois, Levasseur, Roussel, Delorme, Jacob, Saunier, Boudin, Ohneman, Reizell, Boucault, Lelarge, and Hoffman, revives the memories of the Hamilton Palace sale. Art lovers in the United States, the country of munificent appreciation, have not failed to emulate the traditions established by such distinguished collectors of French ébénisterie of the last century as Sir William Hamilton, Horace Wal- pole, John Jones, Sir Richard Wallace, Mrs. Lyne Stephens, Madame Jubinal, etc. Men and women of culture and wealth have vied with one another to be- come the owners of graceful and historically interesting “meubles” which, like shining meteors, appeared from time to time on the collectors’ horizon: men like the late Mr. J. P. Morgan and Mr. W. K. Vanderbilt, and such ardent amateurs of the present day as Mr. Joseph Widener, Mr. George J. Gould, Mrs. Edward Hutton, and the Misses Hewitt, whose names should be men- tioned as having contributed immeasurably to the treasures of this country by surpassing the European connoisseurs in the acquisition of some of the rare jewels of eighteenth century French ébénisterie. A debt of gratitude is also due to Sir Joseph Duveen for his untiring educational efforts in behalf of this beautiful art. Mr. Henry Symons, in confiding this Collection of such obviously high in- trinsic value to The Anderson Galleries, and taking the risk of an unreserved public disposal, was actuated by his desire to carry the interest in eighteenth century French Decorative Art into broader circles, to create a true under- standing—in this country of eagerness to learn—of the value of genuine old French Furniture, comparable with genuine paintings and genuine pearls. ‘The prices which the Crown of France or inveterate collectors like the Duc d’Aubin were willing to pay in their time were, of course, “prix d’admiration.” ‘Though the veneers brought with great difficulty from strange parts of the globe were costly beyond our present-day imagination, the outlay for labor was com- paratively small, and the most fabulous sums were paid in return for genius expressed in each piece of furniture and its mounts. The French Revolution in its tendency to equalize good and bad had its effect of depression on the prices of fine furniture, and one is interested to hear of Lord Hamilton’s arrival at Versailles at the sale of the royal furniture dis- persed by the impeccable National Convention, 1793-94, to carry off the widely advertised bargains. 209 The restoration of the Bourbons restored also the taste for the “beau meuble,” and prices rose steadily until, in 1882, at the Hamilton Palace sale, we recog- nize some of the bargains of 1793 in Number 3801, an upright Secrétaire, signed Riesener, 1790, which at this auction fetched £4620, and in Number 302, a Commode signed by the same master, which fetched £4308. In 1901 a pair of Louis Quinze Commodes, from the collection of the Duke of Leeds, with mounts attributed to Caffieri, brought £15000 at Christie’s. The Goutierrez d@’Estrada at Paris, 1905, and others of similar importance confirmed the growing enthusiasm for the inimitable compositions of veneer and bronze, and the gratifying events of the Jacques Doucet sale, 1912, are still fresh in the minds of art patrons. 1055 EIGHTEENTH CENTURY ENGLISH MAHOGANY TRIPOD TABLE Chippendale period. Circular beaded top on fluted columnar support standing on three cabriole legs carved at the knees, terminating in scroll feet. 1056 EIGHTEENTH CENTURY ENGLISH MAHOGANY ‘TIP-TOP TABLE |. Chippendale period. Shaped tray top on turned column supported by three shaped legs carved at the knees. 1057 EIGHTEENTH CENTURY ENGLISH CARVED WOOD AND GILT MIRROR : Queen Anne period. Oblong mirror plate surrounded by shaped frame and surmounted by a shell pediment; at each side are eagle heads. 1058 EIGHTEENTH CENTURY ENGLISH SIDEBOARD Sheraton period. Shaped front. On the left fitted with four small drawers with original brass drop handles. On the right four larger drawers with similar handles. Original brass top rail. 210: 1059 1060 1061 10614 1062 1063 1064 EIGHTEENTH CENTURY ENGLISH MAHOGANY BOOKCASE Chippendale period. The top part composed of large cabinet enclosed by glass panelled doors of a Gothic arch design, surmounted by a moulded cornice; the top part, carved in a leaf and shell pattern, below which is a wide geometrical border with rosettes; the lower part with ribbon and leaf-carved edge enclosed by two glass doors, similar to - above; on a scroll carved stand. SET OF SIX EIGHTEENTH CENTURY ENGLISH CARVED AND GILT WOOD SIDE CHAIRS Adam period. Shaped backs. Front and sides carved in a ribbon and beadwork design; on square tapered legs carved in a fleur-de-lys pat- tern. Seats and backs upholstered and covered in green cut velvet of a floral design. (6) EIGHTEENTH CENTURY ENGLISH MAHOGANY TRIPOD TABLE Plain circular top, edge carved in acanthus leaves; turned columnar support on three legs carved at the knees in a floral design; ball and claw feet. EIGHTEENTH CENTURY CAUCASIAN “SUMAK” CARPET The centre field is composed of multicolored arabesques on an amber- colored ground with formal borders on a rose and cream ground. Size, 5 feet 1 inch x 2 feet 8 inches. EIGHTEENTH CENTURY ENGLISH CARVED AND GILT WOOD MIRROR Queen Anne period. Upright, oblong mirror plate, shaped gilt frame, surmounted by floral and shell carving, lower part similarly carved. EIGHTEENTH CENTURY ENGLISH MAHOGANY TIP-TOP TABLE Chippendale period. Circular top with leaf and scroll carved edge; supported by turned and carved column, standing on shaped legs carved at knees and terminating in ball and claw feet. EIGHTEENTH CENTURY ENGLISH MAHOGANY BOOKCASE Chippendale period. Upper part composed of one large and two smaller cabinets enclosed by glass panel doors of Gothic design; sur- mounted by leaf-carved cornice. The lower part, m a leaf and shell carving, composed of one large and two small cupboards, enclosed by two panelled doors. On moulded base with beaded carving. 211 1065 1066 10664 1067 1068 EIGHTEENTH CENTURY FRENCH BUFFET TABLE Louis Seize period. Oblong in form, with shaped ends resting on four columnar fluted supports, the flutes of which are filled with finely chased fillets of bronze and connected by a moulded underframing, covered — with beaded fillets. [he body is of finely figured West Indian ma- hogany and is panelled with acanthus mouldings and furnished with mounts of festooned rams’ head handled urns and festooned escutcheon plates. It bears one drawer in the centre. The white marble top is guarded by a vase-shaped balustrade. EIGHTEENTH CENTURY ITALIAN MARQUETERIE NIGHT TABLE OF THE DIRECTOIRE PERIOD On four slender tapering square supports, the front fitted with one hinged drawer, and inlaid with a marqueterie motif of Ganymede, skil- fully laid in hollywood in a circular reserve of dark colored rosewood. Panels of festoons, Greek antefix and running leaf borders; the sides furnished with parqueterie patterns of light and dark colored veneers; countersunk white marble top. EIGHTEENTH CENTURY FRENCH PETIT POINT CANTON- NIERE Louis Quinze period. Composed of a running design of floral sprays and leaves; the corners, as well as the centre, bear large bouquets of flowers; the whole worked in brightly colored silks. EIGHTEENTH CENTURY FRENCH MAHOGANY COMMODE Louis Seize period. Rectangular body fitted with two long drawers and three narrow drawers, the latter sectioned by fluted stiles, all furnished with rosetted drop handles and oval escutcheon plates; sides bear torch appliqués of gilded bronze, fluted and terminating in taper- ing and fluted supports. The returns are panelled. Shaped Griotte marble slab. This commode is most representative of the dignity of the style a la grecque and is made of a warmly figured Guiana mahogany. EIGHTEENTH CENTURY FRENCH ORMOLU AND MARBLE CLOCK Louis Seize period. Shaped base, with inset panels of leaf scrolls and rosettes carved in gilded bronze; above is a female head from which hang festoons of leaves. Circular clock case, on the left of which is a draped female figure holding a mirror and leaning on the clock case. 212 1069 EIGHTEENTH CENTURY ENGLISH CARVED AND GILT 1070 1071 1072 WOOD MIRROR Adam period. Oblong mirror plate surmounted by an urn. with fes- toons of leaves and surrounded by a fruit and leaf carving. Base of similar design. TWO EIGHTEENTH CENTURY FRENCH TWO-LIGHT CANDELABRA In the form of two bronze cupids, holding a spray of richly carved and gilded roses which act as candle holders, on drum-shaped bleu du quin marble bases. (2) KIGHTEENTH CENTURY FRENCH ROSEWOOD AND MAR- QUETERIE CENTRE TABLE OF THE LOUIS QUINZE PERIOD ATTRIBUTED TO THE ART OF WEISWEILER On boldly curved cabriole supports, terminating in leafy pied-de-biche shoes; knee crestings of superbly moulded Caffieri mounts of female and male draped caryatid appliqués, with scrolled head dresses; fitted with three pull and three blind drawers, furnished with oak leaf scrolled handles, and escutcheon key plates. The gondoled body is veneered with a light colored rosewood laid in parqueterie and a climbing and intertwining composition of foliated, arabesques, laid in scorched woods ; shaped top, furnished with the original gold tooled black morocco, framed by a band of straight grained satinwood, and bordered by narrow bands of straight grained rosewood; ogee curved brass guard. BISCUIT DE SEVRES FRUITIERE On a base of three upstanding draped female caryatides in classical garb, with bodies closely joined and supporting circular moulded plaque invested with a brilliant metallic glaze, veined in light blue on a bleu de roi ground. 213 1073 SIX EIGHTEENTH CENTURY CARVED AND GILDED NEEDLEWORK ARMCHAIRS BY ROBERT ADAM [1073] SIX EIGHTEENTH CENTURY CARVED AND GILDED NEEDLEWORK ARMCHAIRS BY ROBERT ADAM On turned fluted supports with ribbon-carved and bulb-shaped members, rosetted dies; serpentined fluted front rail, moulded and voluted arms and uncommonly carved armrests; oval back carved with a ribbon pat- tern; backs, seats and arm-pads covered with a petit and gros point needlework of the Regence period, the backs with genre subjects amongst Persian arabesques; the seats with jesters, butterflies and heraldic birds amongst formal Persian scrolls in brilliant tones on a cream-colored ground. (6) [SEE ILLUSTRATION | 214 1074 1075 1076 1077 EIGHTEENTH CENTURY FRENCH MAHOGANY ARMOIRE Louis Seize period. Rectangular body of the most gratifying propor- tions. The front fitted with two long drawers glazed at the top and panelled with finely figured wood at the bottom, with beaded and moulded bronze mounts. The base is furnished with one long drawer ; laurel leaf and cartouche key escutcheon. Panelled returns. The body rests on tapering turned supports furnished with acanthus sabots and rising into ovolo voluted columnar sides; shaped and moulded cor- nice guarded by bronze baguette. EIGHTEENTH CENTURY FRENCH MARQUETERIE COIF- FEUSE Louis Seize period. Rectangular in form, with elaborately shaped and arched kneehole. The body covered with a richly figured rosewood veneer and panelled with parqueterie of scorched and tinted woods on four sides. ‘The front is fitted with one long centre and four side draw- ers; the top is made in three hinged parts uncovering compartments for cosmetics. The lids are covered with parqueterie patterns with inlays of brass, and on the interior with richly figured amboyna laid in patterns of diamond form. ‘The centre bears a medallion of exquisitely designed musical emblems on a tulipwood ground, with spandrels of holly and interlaced meanders of mahogany bound by fine metal lines. TWO EIGHTEENTH CENTURY FRENCH MAHOGANY CON- SOLES Louis Seize period. On fluted tapering turned supports terminating in laurel sabots. The curved body holds three deep apron drawers which are panelled with finely gilded bronze heads and furnished with oak leaf escutcheon plates and trophy festooned die appliqués. Gray marble top guarded by fretted and beaded rails. (2) EIGHTEENTH CENTURY FRENCH ORMOLU AND MARBLE CLOCK Half-circular base with inset plaque of richly gilded bronze carved in a leaf and flower design. Circular clock case with porcelain dial, on the right of which is a draped female figure leaning towards a cupid, on the left, who is holding a bow and standing on draperies. Supported by four turned and gilded bronze feet. 215 1078 1079 1080 1081 EIGHTEENTH CENTURY FRENCH GILT BRONZE MANTEL CLOCK BY MEYER A PARIS Shaped base, with acanthus leaf carved edge, standing on ten turned and carved feet, supporting in the centre a fluted column upon which stands circular clock case surmounted by a bow-knot. On the right is a winged and draped female figure; on the left, at the base, is a world globe, above which is a winged cupid resting on the clouds. EIGHTEENTH CENTURY ENGLISH MIRROR Queen Anne period. Oblong mirror plate with arch-shaped top sur- rounded by glass panels painted in a Gothic manner in gold on a tortoise-shell colored ground. Mirror plate painted at the top with Prince of Wales’ feathers. EIGHTEENTH CENTURY ENGLISH MAHOGANY BOOKCASE Chippendale pericd. ‘Top part composed of one large and two small cabinets, that in the centre enclosed by a door with an oval glass panel surrounded by a wreath of leaves at the bottom of which is a bow-knot; below the door is one long drawer with original brass drop handles ; those at the sides enclosed by doors with oblong glass panels in moulded frames surmounted by drapery carvings in relief. Beaded cornice with carved urn pediment in centre. | The lower part with plain top and sides; the front carved at either end in scrolls and leaves, in the centre an oblong panel representing a lion rampant surrounded by shell and scroll carvings. Supported by eight square legs, scroll and leaf carved spandrels. [SEE ILLUSTRATION | KIGHTEENTH CENTURY FRENCH CARVED WALNUT AND NEEDLEWORK FIRE SCREEN | Louise Quinze period. Shaped frame with a scroll and leaf pediment and a similar pendant below. Sides carved in scroll and leaf designs ; on cabriole supports connected by in and out curved stretchers. The panel depicts a female figure and a dog dancing to the music played by a man on a viol; they are surrounded by trees in bloom, worked in bright reds, blues, browns and greens on a yellow ground, with a flower and leaf border worked in gros point on a tan ground. In each corner appears a spray of flowers in brilliant colors on blue. 216 EIGHTEENTH CENTURY ENGLISH CHIPPENDALE MAHOGANY BOOKCASE [1080] 10814 1082 1088 1084 THREE EARLY EIGHTEENTH CENTURY FRENCH POINT DE SAINT CYR SCREEN PANELS Regence period. The three panels composed of four reserves of petit point worked with motives of court ladies dressed in royal robes and in allegorical postures seated in landscapes with their finely drawn faces worked in Gobelins tapestries and their garments in richly col- ored silks. The reserves are surrounded by scroll cartouches worked in an uncommon velvet ribbon stitch interspersed with gros point arabesques. These three panels were taken to Russia by the architect Pineau and have, until quite recently, been at the Peterhof Palace. (3) Sizes, 2 feet 4 inches x 1 foot. 2 feet 5 mches x 1 foat, 2 feet 10 inches x 1 foot. TWO EIGHTEENTH CENTURY FRENCH ROSEWOOD TABOURETS Regence period. On cabriole supports carved at the knees in a shell and scroll manner terminating in leaf-covered feet, and connected by moulded and scrolled shaped understretcher. The four sides bear centre motif of a shell with scrolls on either side. The tops are up- holstered and covered with a silk gros point in a conventionalized flower and leaf pattern in bright colors on a canary-yellow ground. (2) EIGHTEENTH CENTURY FRENCH MAHOGANY LADY’S WRITING TABLE Louis Seize period. On gracefully tapering turned supports fluted with finely gilded bronze beadings and headed by barrelled knees. ‘The body is of a dark red West Indian mahogany and supplied on the front with one long and two short drawers and a similar set of jib drawers on the reverse. Reeded drop handles and rosetted key appliqués. ‘The top is covered with its original tooled leather pad and guarded by a fretted bronze rail. : EIGHTEENTH CENTURY FRENCH NEEDLEWORK WAL- NUT BERGERE Louis Seize period. On turned, tapering and fluted supports; serpen- tined front and curved side rails carved with guilloche; the gracefully reclining moulded and rounded back slopes into voluted and outcurved arms. Back, seat, and arm-pads covered in gros and petit needlepoint of the Regence period, the back with a reserve depicting the feat of William Tell, composed of figures of richly clad burghers with a back- ground of a town and mountains. In the finest silk petit point and framed by motifs of Persian arabesques. 218 10844 SEVENTEENTH CENTURY VELVET AND EMBROIDERED 10843 1085 1086 1087 1088 CUSHION The centre part is composed of an embroidered panel representing a Priest, and is worked in gold metal threads and brightly colored silks; on each side is a piece of red velvet. The backs are covered with red flowered damask. SEVENTEENTH CENTURY VELVET AND EMBROIDERED CUSHION Similar to the preceding. EIGHTEENTH CENTURY FRENCH COMMODE Louis Quinze period. Bow front fitted with two drawers, covered with a parqueterie design of rosewood and mahogany. Shaped returns par- queted in a similar manner. Scroll and leaf carved, gilded bronze handles and key escutcheon plates. Richly carved leaf and scroll die, bronze key die appliqués. On slightly cabrioled legs, the knees with leaf-carved festoons, terminating in gilded bronze sabots. Shaped and moulded Languedoc marble top. EIGHTEENTH CENTURY FRENCH DROP-LEAF DESK Louis Seize period. On four curved supports with gilt bronze feet. Front fitted with two small and one large drawer, inlaid with bands of satinwood. Gilt scroll key escutcheons and scrolled and leaf brackets. Drop front inlaid in a design of flowers and leaves in different woods. Interior fitted with four small drawers inlaid with bands of satinwood, also secret compartment. Gold tooled morocco leather top. EIGHTEENTH CENTURY FRENCH MAHOGANY VITRINE Louis Seize period. On fluted columnar supports, the flutes filled with husk pendants of bronze, crowned by dies enriched by gilded bronze rosettes; headed by semi-oval shelf with bronze rail. The body is semi-oval with straight front and is furnished with elaborate guilloches and husks, bronze mounts filling the panels. The front bears a key panel of Sevres bisque of playing putti in white relief on a pale blue ground. EIGHTEENTH CENTURY FRENCH ROSEWOOD GUERIDON Early Louis Seize period. The body is gently gondoled and fitted with three shaped drawers, enriched by bands of satinwood on a ground of diagonally laid rosewood; finely chased and gilded leaf escutcheon plates. The top is covered with a parqueterie pattern of holly and thuya wood. 219 1089 1090 1091 1092 EIGHTEENTH CENTURY FRENCH SECRETAIRE A ABAT- TANT Upright rectangular body panelled with acanthus and beaded bronze mouldings containing snakewood veneers of great beauty and uncom- mon figure on a body of amaranth. The desk rests on square tapering supports and is flanked by Corinthian bronze columns. It is furnished with two doors, one desk flap and one cornice drawer fitted with rosetted drop handles and open oak leaf escutcheon plates. The bottom rail bears a shaped pendant enriched with a gold scroll. White marble top guarded by a fretted rail. TWO EIGHTEENTH CENTURY FRENCH BRONZE “GARDE A VOUS” Two superbly modelled bronze figures, one representing a draped female, the other, a winged cupid. On shaped marble bases with a leaf and scroll carved ormolu centre panel, below which are draperies held by bow-knots; at each side is a panel with a festoon of flowers suspended from ribbons; on moulded ormolu stand with acanthus leaf carving. (2) EIGHTEENTH CENTURY FRENCH AMARANTH WOOD GUERIDON Louis Seize period. On slightly curved, chamfered cabriole supports, furnished with leaf-shaped ormolu sabots. The front is fitted with three narrow drawers, wavy leaf-shaped top; the entire body covered with panels of richly geometrically laid veneers of amaranth with borders of thuyawood and bands of satinwood. ‘The supports are joined by a tray panel covered with similar precious veneers. EIGHTEENTH CENTURY FRENCH MAHOGANY GUERIDON Louis Seize period. Circular table on four tapered and turned sup- ports enriched with climbing oak leaf garlands, acanthus ring sabots. Apron panelled with beaded mouldings of ormolu and furnished with husk escutcheons; fitted with two drawers and two candle slides. Sur- mounted by a fretted bronze gallery which surrounds a bréche violette marble top. 220 1093 EIGHTEENTH CENTURY FRENCH ROSEWOOD CENTRE TABLE ATTRIBUTED TO CRESCENT, EBENISTE DU RE- GENT, 1685-1768 Louis Quinze period. On four boldly curved cabrioles furnished with handsomely chiselled cabochon and acanthus leaf appliqués, beribboned fluted guards, and leaf sabots, finely gilded. The aprons are gracefully in and out curved and arched. Front fitted with three drawers, the reverse with three jib drawers furnished with scroll escutcheon handles and rocaille appliqués. The veneer is of an exceptionally fine figured rosewood laid diagonally. The serpentined top is covered with its original tooled and gilded maroon morocco pad and guarded by a bronze moulding which bears four uncommon cabochon bronze corners. The locks were replaced by a London locksmith during the reign of George ITI. 1094 EIGHTEENTH CENTURY FRENCH “BISCUIT DE PARIS” “SURTOUT DE TABLE” AFTER FALCONET Louis Seize period. Representing Mars and Diana. The huntress seated on a high rock with the war god towering above her. She is surrounded by a torch-bearing amour, a hound and beneath, the bold figures of attendants holding the boar, a trumpeter, a spiritedly modelled horse and other hounds. This magnificent group is placed on a circular contemporary base of mahogany furnished with richly gilded panel mounts and flute fillings and an ormolu guard, finely chiselled with a running border of hedge roses. In a glass case bound by bronze baguettes with bulb-shaped finials. 221 1095 DUTCH PAINTED WAINSCOT ROOM BY C. F. DE HOSSON, WITH BAROQUELY CARVED WOOD MANTEL AND OVER- MANTEL Composed of four canvasses painted with pastoral subjects and river scenes with figures of shepherds and shepherdesses in daringly colored costumes against a blue-green background of verdure filled with sil- houetttes of faraway cities, castles and ships driven upstream by ox- carts. Motifs of pastoral musicians and bucolic groups with herds of sheep and goats. ‘The foliage is enlivened by the white plumage of cockatoos. Signed, C. F. de Hosson pinx. 1774. Sizes, 11 feet 3 inches x 22 feet. 11 feet 3 mches x 18 feet 3 wches. 11 feet 3 winches x 8 feet. 11 feet 3 inches x 10 feet 6 «inches. C. F. de Hosson was born at Bentheim in 1717 and became court painter at Bentheim Castle, painting portraits, historical subjects, an ay? large decorations, the latter in a delightful manner suggestive of bot iS the Dutch Berghem and the Italian Bassano. [SEE ILLUSTRATION | 222 od DUTCH PAINTED WAINSCOT ROOM BY C. F. DE HOSSON [1095] 1096 EIGHTEENTH CENTURY VERNIS MARTIN DOUBLE-KEY- BOARD CLAVECIN BY JEAN COUCHET, 1674: REMADE BY PASCAL TASKIN, 1781 Trapeze-shaped body covered on the exterior with green-gold lacquer, the favorite pigment of the Brothers Martin, on the interior with book- case of naturistically colored flowers after Pillement. ‘The ke¥board is composed of black naturals and white ivory sharps. The sounding board, with four sets of strings, is painted with flowers in distemper. On its contemporary stand with laurel-carved, fluted supports and rosetted dies. Pascal Taskin was one of the most celebrated harpsichord players of the eighteenth century. He was commissioned by the Queen to build a spinet of his own conceit (at present in the collection of Miss Belle Skinner, Holyoke, Mass. Illustrated in the August, 1922, issue of “The International Studio” ). The importance of Jean Couchet in the history of the pianoforte is referred to in the catalogue of the Crosby Brown collection at the Metropolitan Museum as follows: “In No. 2363 we have a rare double-harpsichord by one of the inven- tors, Joannes Couchet, the grandson of the elder Hans and nephew and pupil of the younger Hans or Jean Ruckers of Antwerp. It was Couchet who, about 1640, changed the double harpsichord from a mere transposing instrument contrived to accommodate the Authentic and Plagal church modes with the singer’s capabilities, to a forte and piano harpsichord with three strings (reducible to two and one) upon the lower keyboard and one string always for the upper. All the then existing harpsichords were altered to suit this new system. An excep- tion occurs in one I have met with, which probably owes its unaltered condition to its long preservation in Italy. J can recall only one other Jean Couchet harpsichord, which is in Edinburgh.” It is also referred to in Hipkins’ “History of the Pianoforte,” pages 82-87. Instruments similar to the one described above in their time fetched prices often ten times the amount asked for the best modern piano. [SEE ILLUSTRATION | 224 EIGHTEENTH CENTURY VERNIS MARTIN DOUBLE-KEYBOARD CLAVECIN BY JEAN COUCHET [1096] - f\) 1097 THE RENAISSANCE FLORENTINE CHOIR STALLS OF SIR RICHARD WALLACE SIXTEENTH CENTURY FLORENTINE CARVED WALNUT CHOIR STALL FROM SAN DONATO, FLORENCE Composed of three stalls resting on a moulded platform. The backs and dado panels carved with Renaissance strapwork tracery; the hinged seats, panelled on the under sides, are fitted with moulded brackets upon which rest superbly carved male and female mascaron heads. The arms are scrolled and fluted while the armrests are moulded and act as supports. ‘The upper portions are carved with upstanding figures of saints, bishops and monks in arched frames, flanked by ionic pilasters. Overhanging modillion cornice, intricately carved. These stalls were purchased by Sir Richard Wallace in Florence and held at Bagatelle for a number of years, and formed part of the be- quest made by him to Sir John Murray Scott, from whose estate they were acquired by the present owner. [SEE ILLUSTRATION | fy KV /) “ 1098 SIXTEENTH CENTURY FLORENTINE CARVED WALNUT CHOIR STALL FROM SAN DONATO, FLORENCE Similar to the preceding. [SEE ILLUSTRATION | 226 THE RENAISSANCE CHOIR STALLS OF SIR RICHARD WALLACE [1097-1098] 1099 1100 1101 EIGHTEENTH CENTURY FRENCH TAPESTRY DRAWING ROOM SUITE Louis Seize period. On carved and fluted supports, shaped and ribbon- carved back, carved incurved arms. Seats, backs and armrests covered with Aubusson tapestry, the backs with genre subjects (the settee with a motif of “Blind Man’s Buff” played by children in eighteenth century costumes after cartoons by Christophe Huet). The seats with animal subjects and La Fontaine fables, also after Huet, in soft rose, greens and camaieux on a silver-gray ground. EIGHTEENTH CENTURY FRENCH SECRETAIRE Louis Seize period. In two portions: the lower part, a table, resting on columnar fluted supports with bronze beads and rings, connected by a shaped shelf. The front is fitted with three drawers panelled with bronze beads. ‘The upper portion bears a desk flap concealing a cabinet of six drawers and shelves, all panelled similarly to the exterior and fitted with bronze ring handles. One cornice drawer. Wooden top guarded by fretted rail. This desk, designed in a restrained manner of the classical revival period, is made of a rich sombre West Indian mahogany. KIGHTEENTH CENTURY FRENCH ROSEWOOD COMMODE BY LEONARD BOUDIN Louis Quatorze period. Gondoled front fitted with two long and two short drawers which are furnished with four scroll, shell and cabochon rocaille handles and escutcheon plates, finely chiselled and gilded. The body is covered with straight and cross-grain veneers of rosewood, and figured and herringbone bands of amaranth. Fleur-de-péche marble top. This commode shows the strong influence of the lines established by Cressent, still in favor in the later years of Louis Quatorze. Signed, with impressed marks, Leonard Boudin, who became a member of the Paris Corporation, March 4th, 1761. 228 1102 1108 1104 EIGHTEENTH CENTURY FRENCH CENTRE TABLE Louis Quinze period. On four gracefully curved cabriole supports furnished with gilded bronze acanthus sabots; beaded fillets and cabo- chon knee appliqués finely gilded; the four sides are gently undulating; the front is furnished with three drawers, the reverse with three jib drawers supplied with scroll escutcheon handles and flanked by fretted rocaille scrolls. The entire body is covered with a rosewood veneer of exceptional freshness and delicate inlays of hollywood. The wavily shaped top is covered with a gilded and tooled leather pad and guarded by a gilded bronze mount. EIGHTEENTH CENTURY FRENCH NEEDLEWORK ARM- CHAIR Regence period. Gondoled front supported by gracefully curved and moulded cabrioles carved with acanthus. The front rail is furnished with a leaf-carved cartouche, voluted arms and moulded armrests; ex- tenuated back is shield-shaped, acanthus-carved and crested by a car- touche of uncommon composition; backs, seats, and arms are covered with contemporary petit and gros point needlework; the back by a reserve of the La Fontaine fable, ‘“The Fox and the Raven,” with the Raven clothed in a Parrot’s multicolored plumage. This reserve worked in petit point with gros point frames of Persian arabesques, on a pale green and cream ground. The seat is worked with similar arabesques interrupted by motifs of warriors, butterflies and an eagle with outspread wings. EIGHTEENTH CENTURY FRENCH MAHOGANY WRITING TABLE In the manner of Cosson. On turned tapering supports enriched with acanthus mounts; the body panelled with beaded bronze mouldings and furnished with a centre appliqué, after Clodion, of two amorini seated on floriated and grapevine volutes and festoons with enrichments of bird bodies. The dies are fluted with finely beaded fillets; circular berib- boned escutcheon plates. The top is guarded by a fretted bronze rail and acanthus leaf guard mouldings. 229 EIGHTEENTH CENTURY FRENCH CARVED AND ENAMELLED CHAISE-LONGUE BY JEAN BAPTISTE LELARGE [1105] 1105 EIGHTEENTH CENTURY FRENCH CARVED AND EN- AMELLED CHAISE-LONGUE BY JEAN BAPTISTE LE- LARGE Louis Seize period. Made in one piece with bowed head crested by acanthus and carved with a boldly protruding ribbon motif; curved arms carved with husk and acanthus. The lower end is similarly shaped and carved. The gracefully serpentined seat rail is interrupted by rosetted dies; on six turned and tapering supports. The frame is enamelled in cream and covered with a rose du Barry flowered brocade and fitted with loose down cushion. (From the Earl and Dowager Countess of Essex) Jean Baptiste Lelarge, Rue de Clery, was admitted to the Paris Cor- poration, February 1st, 1775. He was chair-maker for the Chateau Fontainebleau. [SEE ILLUSTRATION | 230 1106 1107 1108 1109 EIGHTEENTH CENTURY FRENCH MARQUETERIE COM- MODE BY JEAN HENRI RIESENER, ABOUT 1780 Louis Seize period. Rectangular body with blocked and curved front resting on four diagonally placed, tapering, square supports. The front is fitted with two long drawers and three cornice drawers and covered with reserves of holly and tinted wood marqueterie in patterns of wreath and bouquets of flowers on a figured citronnier ground sur- rounded by interlaced meanders of mahogany and borders of straight grain satinwood. ‘The cornice is marqueteried with guilloche design of exotic and tinted woods. ‘The returns bear handsome marqueterie panels of bouquets of roses. Wreathed drop handles and husk and leaf die appliqués. Original bréche violette top. Signed, with impressed mark: RiEsENER. For brief biography of Riesener, see Number 1138. EIGHTEENTH CENTURY FRENCH ORMOLU CLOCK BY BEURDELEY A PARIS Oval base supported by four turned legs. Front with inset panels of festoons, flowers and leaves. Surmounted by a circular clock case, on the left of which is a seated amour. TWO EIGHTEENTH CENTURY FRENCH BRONZE AND MARBLE THREE-LIGHT CANDELABRA Louis Seize period. In the form of draped female figures in bronze holding gilt torches from which spring two leaf and scroll carved centre lights connected by scrolls. On square bleu turquin marble bases, with inset reeded gilt bronze panels. (2) EIGHTEENTH CENTURY FRENCH ROSEWOOD LADY’S SEC- RETAIRE BY ANTOINE MATHIEU CRIARD Louis Quatorze period. Of the type favored by the Marquise de Pompa- dour. Straight front with gently gondoled returns, resting on four finely curved cabrioles. The front, returns, back and desk flap are panelled with reserves of diagonally laid lozenges of amaranth in frames of finely figured rosewood. Cabochon knee appliqués, sabots, key escutcheons and leafy handles. The interior is fitted with wavily formed shelves and small drawers, also a concealed compartment cov- ered by a slide. Signed, with impressed mark: A. M. Criarp, who became a Member of the Paris Corporation, April 11th, 1747. 231 1110 ee 1112 1113 1114 EIGHTEENTH CENTURY FRENCH MARQUETERIE CEN- TRE WRITING TABLE SIGNED WITH A ROSE Louis Quinze period. On four cabriole supports furnished with richly gilded rocaille mounts. The body of amaranth is covered on four sides with interlaced marqueterie patterns stained green, surrounding rosettes of hollywood laid in a broad band of richly figured amboyna. One side is formed by a long deep drawer, which, on the interior, is fitted. with a desk slide covered with a pad of black Utrecht velvet. The moulded top is covered with a parqueterie pattern of hollywood and other woods stained olive-green, and a centre medallion of a bou- quet of garden flowers in holly and tinted woods on a figured burl- walnut ground. THE EARL OF MANSFIELD’S FRENCH NEEDLEWORK DRAWING ROOM SUITE Louis Seize period. Set of six armchairs, on fluted tapering supports with slightly bowed and incurved front rails; curved and fluted arms on columnar armrests rising from upturned laurel leaves. Shield- shaped backs with deeply moulded head rails, flanked by fluted full columns and crested by Prince of Wales’ feather finials. The frames are enamelled in cream heightened with gold and are covered with silk needlework embroidered with floral scrolled lozenges in gold and yellow and black on a cream ground. With their own early nineteenth cen- tury flowered glazed chintz slip covers. (6) THE EARL OF MANSFIELD’S FRENCH NEEDLEWORK DRAWING ROOM SUITE Louis Seize period. Settee to match the preceding. THE EARL OF MANSFIELD’S FRENCH NEEDLEWORK DRAWING ROOM SUITE Louis Seize period. Settee similar to the preceding and made to harmonize with the chairs. THE EARL OF MANSFIELD’S FRENCH NEEDLEWORK DRAWING ROOM SUITE Louis Seize period. Set of six armchairs similar to the preceding. (6) 232 11144 11148 1115 1116 SEVENTEENTH CENTURY VELVET AND EMBROIDERED CUSHION The centre part is composed of an embroidered panel representing a Priest and is worked in gold metal threads and brightly colored silks; on each side is a piece of red velvet. The backs are covered with red damask. SEVENTEENTH CENTURY VELVET AND EMBROIDERED CUSHION The centre part is composed of an embroidered panel representing a Priest, and is worked in gold metal threads and bright colored silks; on each side is a piece of red velvet. ‘The backs are covered with red flow- ered damask. EIGHTEENTH CENTURY FRENCH OCCASIONAL TABLE Late Louis Seize period. Rectangular body on tapering square sup- ports, fitted with one long drawer; top, aprons and supports inlaid with interlaced meanders and panels of natural and ebonized hollywood on a ground of rich rose-colored veneer; rosetted and drop ring handles. During the later days of Louis Seize an Anglophile vogue became fash- ionable in some circles of good society, notably amongst men who ostensibly wore English clothes and showed a penchant for English furniture. No doubt the genius of Hepplewhite has inspired the table described above. EIGHTEENTH CENTURY FRENCH MAHOGANY AND MAR- QUETERIE OCCASIONAL TABLE Louis Seize period. On four square slender tapering supports inlaid with fine bands of hollywood. The body is faced on four sides with oblong panels of parqueterie in tinted satinwood surrounded by bands of lighter wood stained green, and fitted with a drawer at one end. The dies bear corner festoons of gilded bronze, grapevine festoon key escutcheons. The top inlaid with emblems on a ground of mahogany with a meander band stained emerald-green and a broad band of straight-grain rosewood; fretted gallery. 233 Ley EIGHTEENTH CENTURY FRENCH MAHOGANY AND LAC- — QUER SECRETAIRE A ABATTANT Late Louis Seize period. Made in two portions, the lower part form- ing a table on square tapering supports with festoon flute enrichments connected by a galleried incurved shelf. The body is fitted with three panelled drawers furnished with cornucopia centre escutcheon and two beaded circular drop handles. Reeded die mounts; beaded guard rail. The upper portion is composed of a desk flap bearing in a panel a con- temporary insert of a Japanese lacquer painting of water-birds lac- quered in gold and silver surrounded: by trees with cherry-blossom branches in rose and gold on a mirror-black ground. The panel is flanked by fluted Ionic pilasters with finely chiselled and gilded bronze capitols. Panelled returns. ‘The interior is fitted with six drawers and one moulded centre door which conceals an interior drawer, all veneered with figured and straight-grain mahogany. There is a cornice drawer furnished with a cornucopia escutcheon and two circular drop handles finely engraved with vignettes of winged amoretti playing guitars. Original key with fretted crest of a bee. [SEE ILLUSTRATION | 234 EIGHTEENTH CENTURY FRENCH MAHOGANY AND LACQUER SECRETAIRE A ABATTANT [1117] HENRY BONE, R.A. 1755-1834 1118 ENAMEL PORTRAIT OF GEORGE WASHINGTON Full-length figure of the General, after the Lansdowne portrait by Gilbert Stuart, painted in 1779, cloaked in black with white lace ruffs and stock, standing near an elaborately carved writing table with a piece of crimson velvet thrown over the marble top; his right hand is uplifted in a gesture of speech, while his left holds the scabbard con- taining his sword. Background of a throne chair, a column, crimson draperies and a landscape beyond. The portrait is signed by the artist at the back, as follows: Henry Bone Hanover Street, Hanover Square Enamel, London Enamel Painter to His Royal Highness, The Prince of Wales In the original carved and gilded recessed moulded frame of the period. Henry Bone, the celebrated painter in enamel, was born at Truro, in Cornwall, in 1755. His first employment was with a manufacturer of china at Plymouth; he afterwards employed his talents at Bristol in painting landscapes and groups of flowers to ornament porcelain, by which means he acquired a thorough knowledge of that art, in which he became so eminent. He removed to London in 1779, and became distinguished by painting in enamel “The Sleeping Girl,” after Sir. Joshua Reynolds. But the works that will give him lasting fame are the “Portraits of Illustrious Englishmen,” eighty-five in number, which he enamelled after the original pictures in the royal and other collec- tions. These must have cost him much labor, expense, and anxiety; but brought him, unfortunately, little pecuniary reward. In 1811 he produced a copy in enamel (eighteen inches by sixteen) of Titian’s “Bacchus and Ariadne,” for which he received 2200 guineas. He was elected an Associate of the Royal Academy in 1801 and in the same year was appointed painter in enamel to George III. In 1811 he was made a full member of the Academy, and died in 1834, when his miniatures were dispersed by auction. [SEE ILLUSTRATION | 236 ENAMEL PORTRAIT OF GEORGE WASHINGTON BY HENRY BONE, R.A. [1118] LTS COMMODE OF SATINED CORALWOOD BY CLAUDE CHARLES SAUNIER, MOUNTS BY GOUTHIERE (FOUR- NISSEUR DES MAISONS ROYALES) Rectangular body in the simple form of the “Style a la Grecque.” The front panelled with fillets of bronze and broad and narrow bands of rosewood and fitted with two long and two short drawers, enhanced with angular and engraved rosetted drop handles and finely chased urn festoon scroll escutcheons and the appliqués of festooned trophies of the most delicate workmanship; the ovolo ends are of rosewood and fluted with fillets of gilded bronze with husk enrichments; bell-shaped turned feet guarded with finely wreathed bands of ormolu; two ovolo die panels of laurel wreaths and mascarons crested by acanthus. The - mounts are of entrancing beauty and originality in design. Returns resemble the face, with fluted pilasters enriched by husk mounts and rectangular beaded die panels. Original white and black marble slab guarded by shaped and fretted ormolu gallery. Illustrated in the July, 1922, issue of “The International Studio.” Claude Charles Saunier was the son of Jacques, an eminent cabinet maker under the Regence. He was admitted to the Corporation on July 31st, 1752. His work is well represented in the Wallace Collection. [SEE ILLUSTRATION ] 238 COMMODE BY CLAUDE CHARLES SAUNIER MOUNTS BY GOUTHIERE [1119] 1120 CENTRE TABLE OF WEST INDIAN MAHOGANY BY GUIL- LAUME BENEMAN, FOURNISSEUR DE LA COURONNE. WITH BRONZE MOUNTS BY THOMIRE, ABOUT 1786 Panelled on all sides with finely engraved and gilded leafy fillets of bronze and fitted, in front, with four drawers. ‘The chamfered sides are furnished with four caryatid supports composed of rectangular tapering shafts, enriched with guilloche mounts and faced by hand- somely modelled vine-clad and draped putto bodies. ‘The moulded top is guarded by a rosetted guilloche running border of gilded bronze and topped by a tooled and gilded morocco pad. Thomire’s mounts were cast by Forestier and gilded by Galle. Signed, with impressed mark: G. BENEMAN. Beneman was admitted to the corporation of master cabinet makers on September 8, 1785. His ateliers were in the Rue Forest. He was one of the celebrities during the last decade of the reign of Louis Seize. The prices of his cabinet work approached and often equalled the reward commanded by Riesener himself. It was a writing table like the one described above which established Beneman’s fame, a table com- missioned by the crown to stand in the king’s private apartments, near the celebrated “Bureau du Roi” of Riesener and Oeben. He was also honored by Marie Antoinette with a commission to furnish her private apartments at her newly acquired Palais de St. Cloud. To quote Lady Dilke: ‘Nothing can surpass the beauty of Beneman’s workmanship or the marvellous craft of those who collaborated with him in the production of the great commodes which were transferred in 1772 from Fontainebleau to the Musée du Mobilier National, or of those triumphs of his skill which came into the Louvre from St. Cloud.” Beneman’s work, though independent in thought was, until the retro- spection exhibition in 1882, attributed to the skill of Riesener, but we have since learned to distinguish the two masters. No piece of furni- ture can be more illustrative of the pure style of Louis Seize than the writing table described herein, with its almost Spartan severity and its magnificent mounts relieving by their splendor the sombre surface of mahogany. [SEE ILLUSTRATION | 240 CENTRE TABLE OF WEST INDIAN MAHOGANY BY GUILLAUME BENEMAN WITH BRONZE MOUNTS BY THOMIRE. ABOUT 1786 [1120] 1122 TWO CHIEN LUNG FAMILLE-ROSE CHINESE PORCELAIN TWO-HANDLED “FISH BOWLS” Bulbous bodies with upturned lips, furnished at two ends with unglazed and gilded lions’ masks and invested with an overglaze decoration of roses, blossomed bushes and flying birds in brilliant colored enamels of rose, rouge d’or and green, with running borders in two-tone turquoise- blue with rosettes and bands of gold and rouge d’or. The interiors bear flying goldfish painted in rouge d’or and detached sprays and butterflies. The upper rim with a relief of slip decoration of arabes- ques in reserves and meanders in multicolored enamels on a pale tur- quoise ground. (From the Summer Palace, Peking) (2) EIGHTEENTH CENTURY FRENCH NEEDLEWORK BER- GERE Walnut frame on curved cabriole supports with fan enrichments at knees, shaped and leaf-carved front rail, moulded and shaped arms, rounded moulded and flower-carved back. Back and seat covered with contemporary needlework, the back with a motif of Phaethon’s chariot in brilliantly colored petit point. ‘The seat with reserves of heraldic animals in petit point on a king’s blue ground, surrounded with multi- colored arabesques on a pale green ground. EIGHTEENTH CENTURY FRENCH LADY’S SECRETAIRE BY M. OHNEBERG Louis Seize period, in the style favored by Marie Antoinette. In two portions: the lower part framed with cabochon knee appliqués, fillets, and pieds de biche sabots. The rectangular body is covered with panels of parqueterie of holly and tinted woods on a rosewood ground. One centre drawer, furnished with cartouche key escutcheon and original chiselled gilded bronze key. The upper portion is supplied with a desk flap which conceals shelves and four drawers, panelled and veneered with richly figured rosewood surrounded by broad bands of satinwood, tinted to simulate green ivory, and narrow bands of holly- wood. 'The desk flap bears, on the reverse, a pad of purple morocco tooled with gilded scrolls. The interior is furnished with parqueterie surrounding an oval medallion with emblems of music laid in hollywood on a green ground. The returns are parqueted as well as the top, which is guarded by a fretted bronze rail. Signed, with the impressed mark: M. Ouneserc, who became a Mem- ber of the Paris Corporation, July 7th, 1778. His atelier wantin the Rue Traversiére St. Antoine. 242 EIGHTEENTH CENTURY FRENCH MAHOGANY COMMODE Dyes VR: Bb. Louis Seize period. On turned tapering supports, furnished with oak leaf chiselled mounts. Fluted ovolo sides and dies, furnished with gilded bronze grape and husk pendants. The rectangular body is fitted with three drawers, of which two bear leafy protruding handles and wreathed oval key escutcheon plates, while the other is panelled with a chiselled, rosetted guilloche bronze frieze. The returns are panelled with beaded gilded bronze mouldings and friezes similar to above. Shaped marble top of the period. Signed, with impressed mark: B. V. R. B. Lady Dilke, “French Decorations and Furniture in the XVIIIth Cen- tury,” page 161. “With I. Dubois must also be mentioned the remarkable artist who was responsible for the magnificent bureau which had belonged to the Abbé Terray, that we saw, in 1888, at the Exposition de l’Art Francais sous Louis XIV et Louis XV (No. 218, ‘Secrétaire de l’époque Louis XV en bois de violette, marqueterie de bois de rose, sur fond d’amarante, orné de bronzes dorés et ciselés, formant chutes, contrechutes, sabots et encadrement rocailles avec guirlandes de fleurs.—Signé B. V. R. B. ayant appartenu a labbé Terray.’ It was exhibited by Mme. la Com- tesse Terray, but is, I believe, now in the hands of Mme. Vinde.) It bore the initials B. V. R. B. These letters are still unexplained, but they are to be found on various other works, which, if not so important as this great bureau, are equally fine in style. Amongst these are the fine commode and the table equally superb, belonging to M. Rodolphe Kann, which show the same breadth of outline, the same masterly han- dling, which attest the after life of the ‘Style Louis Quatorze’.” EIGHTEENTH CENTURY FRENCH MARQUETERIE GUERIDON Louis Seize period. Probably by Leonard Boudin. Oval table on four slender finely tapering cabriole supports of figured amaranth wood, connected by a leaf-shaped tray occupied by a still life composition of delft vases and bottles laid in hollywood and heightened with color on amaranth and citronnier with bands of kinkwood. The broad apron is fitted with one side drawer and one candle slide and is marqueteried with a quatrefoil trellis pattern in colored and scorched woods. ‘The oval top bears a marqueterie picture of a most imaginative design of vil- lages amongst Roman ruins, bridges and a river with boats and ducks, all this laid in a great variety of tinted and scorched exotic woods with small squares of mother-of-pearl inserted to simulate window glass. The top is guarded by a fretted bronze rail. Festooned torch die and knee appliqués and scrolled sabots ; wreathed ring handles. Leonard Boudin became a member of the Corporation, March 4th, 1761. 243 1126 ADMIRAL HOOD’S EIGHTEENTH CENTURY FRENCH MAR- QUETERIE COIFFEUSE BY ADRIEN FAIZELOT DELORME Louis Quinze period. On four chamfered cabrioles; rognon front; gently gondoled returns. Front apron fitted with one drawer and one shaped candle slide, the latter covered with its original jade-green morocco pad tooled with a Greek running border in gold. The top is made in the form of lozenges in three sections, of which the sides are hinged panels covered on the face with holly, tinted and scorched wood marqueterie of carnations on spreading branches. ‘The reverse with geometrically laid, richly figured amaranth; the centre panel acts upon an easel device serving as a stand for a dressing mirror with a hinged and shaped member as a rail; the surface is occupied by floral branches in a formal pattern tied with a ribbon in marqueterie similar to above. Signed, with impressed mark’ DELoRME, and the marqueteur’s mark EK. H. B. Adrien Faizelot Delorme became a member of the Paris Corporation, July 12th, 1748. : Admiral Samuel Viscount Hood (1724-1816), Lord Bridport, one of Britain’s most famous naval heroes, was midshipman on Rodney’s ship in 1748, lieutenant at the age of 22, and post-captain at 32. During his retirement from active service, 1778-80, he was Commissioner of the Dockyards at Portsmouth, but went to sea again under Admiral Rod- ney as second in command of the North American Squadron. Hood took part in several famous naval engagements in 1781-2, notably that of Dominica, for his share in which he was granted an Irish peerage. He was elected Member of Parliament for Westminster in 1784, and was appointed a Lord of the Admiralty. Four years later he took command of the British fleet in the Mediterranean, and in 1796 was made a viscount. He was especially strong as a tactician, and his junior officer, Horatio Nelson, acknowledged his indebtedness to him in that particular, and, upon his retirement, wrote: ‘The Fleet must regret the loss of Lord Hood, the best officer, take him altogether, that England has to boast of; great in all situations which an admiral can be placed in.” [SEE ILLUSTRATION | 244 ADMIRAL LORD HOOD’S LOUIS QUINZE FRENCH MARQUETERIE COIFFEUSE [1126] EIGHTEENTH CENTURY FRENCH TULIPWOOD AND MAR- QUETERIE “BONHEUR DU JOUR” BY PIERRE ROUSSEL (EBENISTE DU CABINET DE LA REINE) Louis Quinze period. Made in two portions, the lower part resting on four chamfered cabriole supports, the richly figured wood not hidden by knee appliqués; supports are connected by four-sided and shaped tray occupied by emblems in light and tinted woods on a scorched tulipwood ground. The body is serpentined on three sides, furnished with bor- ders of Chinese flower pots with spreading branches, and bears a centre drawer with writing fittings and a desk slide, the latter covered with its original sapphire-blue moire pad bound by finely tooled galoon. The upper part is moulded and bears again emblems of scorched and colored marqueterie. ‘The upper portion is formed by a cabinet with straight front and bowed back, fitted with two doors and one centre drawer; with moulded cornice and crowned by shaped wooden gallery. The cabi- net, as well as the rail, is covered with a great variety of double- handled flower urns, Chinese flower pots and bands of straight-grained rosewood. Rocaille escutcheons and original bronze key. Pierre Roussel was admitted to the Paris Corporation, August 138, 1771. [SEE ILLUSTRATION ] 246 EIGHTEENTH CENTURY FRENCH TULIPWOOD AND MARQUETERIE “BONHEUR DU JOUR” BY PIERRE ROUSSEL [1127] PHOTOGRAPH IN ARCHIVES 1128 EIGHTEENTH CENTURY FRENCH ARCHITECT’S DRAWING TABLE BY GEORGES JACOB Louis Seize period. The rectangular body, covered with the richest ma- ‘hogany and amaranth veneers, rests on four square tapering supports panelled with reeded bronze mounts; fluted dies are headed by circular engraved rosettes. The aprons are panelled with beaded bronze mould- ings and the front is fitted with a long drawer enriched with reeded bands of ormolu and furnished with uncommon festooned drop handles. The drawer bears, on the interior, a desk slide covered with the orig- inal gold tooled calf pad, which discloses fittings of three drawers with engraved bronze knobs and two sliding drawers. The top, guarded by a bronze moulding, is hinged to raise and form a draughtsman’s board and lectern on easel supports which are worked on adjustable brackets ; it is inlaid with a fine band of hollywood. Attention must be called to the perfection of cabinet work which has preserved the ingenious contrivance in perfect working condition up to the present day. Georges Jacob became a member of the Paris Corporation, September 4th, 1765. [SEE ILLUSTRATION ] 248 MMOMAARAMOAL ROOD RATAN ARRARRRELEY npnnennnetenNeetebbe ttt SOLO L OLE ERLAARE NEL LOL ODENL LLL LISS EEL LIEDER ASSIS EIGHTEENTH CENTURY FRENCH ARCHITECT’S DRAWING TABLE BY GEORGES JACOB [1128] 1129 Bc Sho De Gs 8 OS 0 5h @ Gs We 9) 0 Os |e Oo 015) 0 60s Oe Oi 0S 2 8s Oe G+ 0s 059018. @: Heh £15) 0 60 - Ds Gs 0S 0 55 < O2 Os Ce 9 Si 0102 Os ©3015) 929 OO) 2.08 0 28. OO Oks 88 OB. sh gsi Sap Nas IP SRR RIES RBC SNR CRB B RE [1129] EIGHTEENTH CENTURY FRENCH CORALWOOD AND MAR- QUETERIE ENTRE-DEUX BY ETIENNE LEVASSEUR Louis Seize period. On four tapering and fluted turned supports, flutes , panelled with brass members; finely engraved, reeded and beaded mounts. Supports connected by a shaped tray guarded by fretted bronze rail, and covered with a coffered parqueterie of satined coral- wood and thuyawood, with small lines of hollywood. . The shaped apron bears one centre drawer and is panelled with egg and leaf chiselled bronze mounts; dies occupied by square oak leaf rosettes. Original white marble top guarded by moulded and fretted bronze gallery. Attention must be drawn to the careful workmanship displayed in this table. Etienne Levasseur, Faubourg St. Antoine, was admitted to the Paris Corporation, December 17th, 1766. He became Fournisseur du Petit Trianon et des Maisons Royales and was considered amongst the fore- most ebénistes of his time. Braving the opposition of the ultra-con- servatives and the danger of being called an Anglophile, he was one of the first to achieve effects of serene dignity by applying mahogany veneers to large surfaces. [SEE ILLUSTRATION | 250 EIGHTEENTH CENTURY ROSEWOOD COMMODE BY I. DUBOIS [1130] 11380 EIGHTEENTH CENTURY FRENCH ROSEWOOD COMMODE BY I. DUBOIS | Louis Quinze period. Bomb body covered with diagonally laid rose- wood veneer in shaped panels with enrichments of tinted floral mar- queterie sprays and surrounded by fine lines of hollywood and veneers of amboyna wood. The lines of the panels are closely followed by richly chased scroll and cartouche mounts which give the impression of archi- tectural perfection. The key escutcheons are carefully placed as parts of the pattern. The gracefully curved cabriole supports are faced by cabochon scroll knee appliqués superbly composed and terminating in husk patterns and finely moulded scroll feet. The reference to Dubois’ table at Hertford House made by Lady Dilke, Page 202, may be readily applied to this magnificent commode. (For- merly owned by the Dowager Countess Howe) [ SEE ILLUSTRATION | 251 1131 EIGHTEENTH CENTURY FRENCH TULIPWOOD SECRE- TAIRE A ABATTANT BY ADRIEN FAIZELOT DELORME Louis Quinze period. Upright case with front and sides moulded with an uncommon undulation, the front fitted with a long desk flap, one book slide and two drawers, the latter concealing fittings of oak, shelves and one panelled door. The desk flap uncovers a system of four drawers and a number of pigeonholes of figured rosewood. The front is designed to appear as a médaillier, with richly figured veneers laid in squares of tulipwood sectioned by borders of thuyawood and stiles of straight-grain hollywood. ‘The returns are similarly veneered. Each panel is furnished with a rose of gilded bronze in high relief and baroque escutcheons magnificently chiselled with motifs of flying eagles, roses and rocaille leaves. The desk slide bears a handle with a pro- truding head of a grotesque. The sides are completely covered with ovolo gilded bronze columns of the Corinthian order, fluted and enriched with climbing oak leaves and flowered fruit festoons. The base is made entirely of gilded bronze mounts with feet of voluted cartouches and aprons composed of horizontal floral garlands centering upon a baroque shell. Original moulded red griotte marble top. Original steel key crested by the full armorial bearings of the Comte de Desure de Chavi- gny de Planchoury. The successful and independent effort to conceal the unconventional form of the secrétaire a abattant places this desk amongst the most de- sirable pieces of French ébénisterie. Adrien Faizelot Delorme became a member of the Paris Corporation, July 12th, 1748. [SEE ILLUSTRATION | 252 LOUIS QUINZE FRENCH TULIPWOOD SECRETAIRE A ABATTANT BY ADRIEN FAIZELOT DELORME [1131] 1132 THE EARL OF STRATHMORE’S EMBROIDERED LOUIS SEIZE DRAWING ROOM SUITE WITH FRAMES BY GUIL- LAUME BOUCAULT Comprising six armchairs and a settee. On moulded cabrioles con- nected by undulated and guilloche carved seat rails which are enriched with festooned rosettes; bowed back carved similarly and crested with emblems of love-birds, moulded and voluted arms. The seat is framed by an uncommon moulded and guilloche carved rail; backs and seats covered with Gobelins embroidery composed of a great variety of stitches and depicting groups of spiritedly drawn figure subjects; French Chinese personages, rustics, gallants, grotesques and other fig- ures suggestive of the Italian comedy dressed in minutely worked lace costumes among tropical trees and flowers and balustrades worked in multicolored softly shaded silks on a cream ground. The six arm- chairs are on scrolled and voluted cabriole supports with gracefully ser- pentined and acanthus-carved seat rails; moulded shield-shaped backs, voluted arms and finely fluted scroll armrests. The seats and backs are covered with Gobelins embroideries; the seats with bear-tamers, rustic dancers, musicians, mountebanks and buffoons; the figures worked in brightly colored ribbon stitch flanked by climbing baroquely scrolled flower bushes and an infinite variety of imaginative subjects all worked on a cream silk ground. The backs are all composed of flower vases filled with spreading flowers in full bloom, each designed in an inde- pendent manner in greens, orchids, and golden tans. The arm pads are done in a delightful trellised silk embroidery. (7) The maker of these exceptionally fine frames, Guillaume Boucault, was admitted to the Paris Corporation, December 17, 1776. [SEE ILLUSTRATIONS | 254 Be ES EE THE EARL OF STRATHMORE’S EMBROIDERED LOUIS SEIZE DRAWING ROOM SUITE [1132] THE EARL OF STRATHMORE’S EMBROIDERED LOUIS SEIZE DRAWING ROOM SUITE [1132] 11338 1134 11385 1136 EIGHTEENTH CENTURY FRENCH ROSEWOOD LADY’S SECRETAIRE BY C. CORDIE Made in two portions: the lower supported by slightly cabrioled cham- fered legs with leaf-carved sabots. The apron is fitted with two small drawers and veneered with rosewood and inlaid with bands of satin- wood. The returns are panelled in a similar manner. Hinged top forming a writing pad with original green morocco tooled leather cov- ering. Fitted on each end with two doors and in the centre with a slide, each enclosing a compartment. The upper part is composed of a tam- bour front cabinet, below which are two small drawers and one pigeon- hole. The returns, reverse and top part inlaid in a manner similar to the lower. EIGHTEENTH CENTURY FRENCH ORMOLU CLOCK BY LE NEPVEU AU PARIS The shaped stand is supported by four turned feet and inset in the front and at the sides with panels of gilt bronze in a scroll and leaf design. Drum case supported by draperies. On the left is a warrior and on the right a winged amour holding a flag. TWO EIGHTEENTH CENTURY BRONZE AND MARBLE THREE-LIGHT GIRANDOLES Louis Seize period. In the form of draped female figures in bronze, holding cornucopie which support three scroll and leaf-carved arms from which hang festoons. From the centre arises an urn with leaf- carved supports draped with festoons on drum-shaped bleu turquin marble pedestals, with festoons of leaves and flowers carved in relief ; on square gilt bronze stands. (2) EIGHTEENTH CENTURY FRENCH ROSEWOOD AND MAR- QUETERIE GUERIDON Louis Quinze period. On chamfered cabriole supports gracefully taper- ing into cabochon sabots, connected by leaf-shaped tray covered with a rosetted and diapered marqueterie of citronnier, hollywood and bands of tinted jade-green and of straight-grain tulipwood. The oval body is similarly adorned, and fitted with one centre drawer. Bronze die ap- pliqués of a honeysuckle pattern. The top bears a rosewood border surrounding a tooled leather pad and is guarded by a fretted gallery. 256 EIGHTEENTH CENTURY FRENCH MAHOGANY AND MARQUETERIE CENTRE WRITING TABLE ATTRIBUTED TO ETIENNE LEVASSEUR [1137] 11387 EIGHTEENTH CENTURY FRENCH MAHOGANY AND MAR- QUETERIE CENTRE WRITING TABLE, ATTRIBUTED TO ETIENNE LEVASSEUR Louis Seize period. On four tapering square supports enriched with oak leaf pendants, finely engraved fillets, spade sabots and capitols of an uncommon acanthus pattern; festooned dies. The front is fitted with three drawers panelled with beaded bronze baguettes and occupied by diapered marqueterie of hollywood, rosettes, and bands and meanders of thuyawood. The drawers are sectioned by panels of satinwood with magnificently designed mounts of festooned and rosetted cartouche key escutcheons. ‘The reverse and returns are composed in a similar vein. Original gilded and richly tooled dark brown morocco pad and moulded bronze guard. Levasseur was admitted to the Corporation, December 17th, 1766. For brief account cf the importance of Levasseur vide note following Num- ber 1129. | [SEE ILLUSTRATION | 257 1138 BUREAU A CYLINDRE BY JEAN HENRI RIESENER A rosewood and marqueterie secrétaire, in outline almost identical with the celebrated Bureau du Roi made for Louis Quinze by order of the Marquise de Pompadour. Signed, under marble slab, with impressed mark: J. H. Riesener. It is made in two portions. The lower part forming a maitre ébéniste kneehole table, faced on two sides by motifs of covered urns in scorched woods on a reserve of citronnier, framed by bands of thuyawood and satinwood and surrounded by diagonally laid veneers of rosewood. The centre is furnished with a finely drawn landscape with figures and houses in exotic and tinted woods with bands of thuya and holly wood inlaid on a ground of amaranth. Five drawers. The kneehole is out- lined with inlays of gilded bronze; supports of chamfered and incurved cabrioles enriched with bronze mounts and dragon-claw sabots. ‘The chamfered ends bear guilloched and festooned torch appliqués; these mounts are designed by Martincourt. The upper portion bears a cylindrical desk slide covered with a car- touche of emblems laid in tinted woods with a lavish application of thuya and holly woods, also two reserves with trophies on a ground of geometrical inlays of rosewood; gilded acanthus-leaf handles. The interior is fitted with a system of drawers and pigeonholes richly marqueteried to harmonize with the exterior. ‘The cylindrical portion is headed by an entablature fitted with one centre drawer and covered with a rich veneer of amaranth interrupted by a meander border of mar- queterie and furnished by cornice mounts of acanthus; a fretted gallery guards, on three sides, a bleu turquin d’Italie marble slab. Illustrated and described in the July, 1922, issue cf ‘The Interna- tional Studio.” Jean Henri Riesener, the most celebrated cabinet maker of his time, was born at Gludbeck near Cologne in 1725. He emigrated to Paris as a young man and was first heard of as working at the Gobelins under the renowned Jean Frangois Oeben, purveyor to the Marquise de Pompa- dour. He is mentioned in the inventory drawn at the time of Oeben’s demise in 1767, as “Premier Garcon”—Foreman. In the same year Riesener married Oeben’s widow and took full pos- session of a plant then at the Arsenal, which had become a treasure store of rare woods, rich veneers, and magnificent bronze mounts, plans and maquettes by the illustrious designers of the time, and the nearly finished “Bureau du roi,” which in 1769 was delivered to the king at Versailles. “This desk of all desks,” bearing Riesener’s signature, its incomparable marqueterie, color, bronze mounts and the ingenuity of the newly designed ‘roll top” device found a host of admirers, and Riesener received numerous orders from the Dauphine, foreign sover- eigns and wealthy bourgeois to execute similar bureaux, of which the above described is a particularly sumptuous example. In 1767 Riesener 258 had become a maitre ébéniste and a member of the corporation. Nine years later, in 1776, we can judge the royal and popular esteem given to his creations by his stupendous fortune of 504,571 livres (stated in his second marriage contract) not including his artistic and other properties. For nearly twenty-five years Riesener towered above his rivals and none of the vagaries of public fancy could induce him to lower his artistic standard. The private apartments of the Queen at Trianon and Ver- sailles abounded in secrétaires, commodes, and tables signed by the master for whose genius the Queen showed a fervent admiration. The Revolution and the passing of that poetic luxury which graced human life during nine-tenths of the eighteenth century dethroned also the king of the cabinet makers. He died in 1806, a poor man. | SEE FRONTISPIECE, IN COLORs | 259 11389 EIGHTEENTH CENTURY FRENCH BRONZE AND MARBLE MANTEL CLOCK MADE BY LECHOPIE, PARIS. BRONZES BY SAINT GERMAIN Louis Seize period. Circular porcelain and calendar dial surrounded by finely chased ormolu rim resting on voluted brackets of white mar- ble with bead and oak-leaf enrichments in gilded bronze, and floral gar- lands rising from the centre of the volutes. Oblong moulded marble hase with panels of fretted and scrolled mounts and marguerite rosettes ; the brackets are flanked by mermaid bodies, bear finials of Gallic cocks with outspread wings and are crested by a group representing Diana, the Huntress, with putto, hound and emblems. [SEE ILLUSTRATION | 260 EIGHTEENTH CENTURY FRENCH BRONZE AND MARBLE CLOCK BY LECHOPIE, PARIS. BRONZES BY SAINT GERMAIN [1139] 1140 EIGHTEENTH CENTURY FRENCH MARQUETERIE GUERI- DON (LADY’S WRITING TABLE) BY NICHOLAS LAN- NUIER, WITH ITS ORIGINAL “PATE TENDRE” SEVRES PLAQUES Louis Seize period. Oval body occupied on four sides by porcelain me- dallions designed and made for* this table at the Royal factory of Sevres. They are rectangular in shape and painted in the Queen’s favorite pattern of detached rosebuds on a white ground with a border of bleu de ciel and lines of gold. The panels are surrounded by frames on gilded bronze finely chased with acanthus, and they are flanked by vertical marqueterie panels of rosetted guilloche and Greek borders in holly, tulip and tinted woods. Die panels with bronze fruit festoons in low relief. The tapering and fluted supports are furnished with fillets of husks and are connected by an oval tray marqueted with meanders and rosettes on rosewood and guarded by richly chiselled fretted rail. Similar marqueterie appears on the oval top which is guarded by a guilloche baguette of gilded bronze. ‘The apron is fitted with one deep drawer with writing compartments and the original silver ink and sand bottles and a shaped slide. Nicholas Louis Cyrille Lannuier, Rue St. Thomas du Louvre, was ad- mitted to the Paris Corporation, July 23rd, 1783. He was renowned as a maker of “tables mécaniques” (secrétaires). ‘The table above de- scribed closely resembles the jardiniére belonging to Alfred C. de Roth- schild, Esq. and illustrated in Seymour de Ricci’s book, page 94. The above table was illustrated in the July, 1922, issue of “The Inter- national Studio.” (yw ys * ‘ 4 [SEE ILLUSTRATION | 262 \t Be ae ERMA SM ts be 2 5 iS EIGHTEENTH CENTURY FRENCH MARQUETERIE GUERIDON BY NICHOLAS LANNUIER, WITH ITS ORIGINAL “PATE TENDRE” SEVRES PLAQUES [1140] 1141 EIGHTEENTH CENTURY FRENCH SERRE-BIJOU, WITH LARGE “PATE TENDRE” SEVRES PLAQUE BY PITHOU LE JEUNE Louis Seize period. Made in two portions: the upper panelled and occupied by a plaque of “Pate Tendre” (soft paste) Sevres porcelain of great rarity and unusual size. This painting on porcelain depicts the Comtesse du Barry, dressed ‘*a la 'Turque” in ample oriental gar- ments of gray and rose, holding in her right a nargileh, seated on a dais covered with huge brocade cushions and her feet resting on an oriental rose-colored carpet. She is surrounded by attendants, also in oriental costume, and servants with trays and refreshments. To the right and left are trees and balustrades with urns filled, one with a fruit-laden orange tree, another with azaleas in bloom; applied in softest multicolored enamels. 'The porcelain panel is framed in a broad, engraved bronze baguette and is topped by a panel of parqueterie. It is flanked by protruding fluted Doric pilasters with engraved bronze plinths and capitols. The returns are panelled with bronze mouldings surrounding parqueterie patterns on a body of richly figured satin- wood; one side is fitted with a door. The lower portion rests on slender tapering supports fluted with light and dark woods and enriched with engraved bronze mounts. ‘The returns are panelled with marqueterie, the front occupied by a shaped parqueted key panel. Interlaced ribbon stretcher. Original shaped bleu turquin marble top, with fretted and engraved gallery. [SEE ILLUSTRATION | 264 4 ® A $ EIGHTEENTH CENTURY FRENCH SERRE-BIJOU, WITH LARGE “PATE TENDRE” SEVRES PLAQUE BY PITHOU LE JEUNE [1141] 1142 TWO EARLY EIGHTEENTH CENTURY FRENCH ROSEWOOD AND MARQUETERIE ENCOIGNURES Regence period. Serpentine front fitted with a door covered with a de- sign of bouquets of flowers, tropical birds in precious and colored exotic woods, framed with scrolled bands of satinwood and kingwood, shaped sides inlaid in similar manner, on a bracketed base in rich scroll ap- pliqués and scroll shoes. Bronze key escutcheons. Shaped Griotte mar- ble tops. (2) [1143] 1143. EIGHTEENTH CENTURY FRENCH GUERIDON AND WRIT- ING TABLE Louis Quinze period. On slender chamfered cabriole supports with husk inlays on a ground of citronnier with bands of thuyawood and ebony; scroll bronze sabots and leaf and husk knee appliqués. ‘The supports are connected by leaf-shaped tray marqueted with colored and scorched exotic wood reserves on a rosewood ground. The oval body is similarly treated and fitted with one long drawer with writing pigeonholes at one end and a book slide covered with tooled morocco pad in the centre. Original richly figured Languedoc marble top with fretted bronze rail. | [SEE ILLUSTRATION | 266 1144 1145 1146 11464 EIGHTEENTH CENTURY FRENCH ROSEWOOD AND MAR- QUETERIE COMMODE Louis Quatorze period. Kettle-shaped body with gracefully serpentined front covered with a helly and tulip wood vencer pattern of a flower urn with spreading rose branches on amaranth veneer, laid diagonally and framed by broad bands of rosewood which cover the shaped return. The chest is fitted with two long and two short drawers of various sizes furnished with gilded uncommon bronze escutcheon plates of rocaille shell pattern with cresting of the Este Eagle; with its original Languedoc marble top. EIGHTEENTH CENTURY FRENCH DRESDEN PORCELAIN AND ORMOLU CLOCK Shaped leaf and scroll carved base upon which stand a male and female figure of Dresden porcelain. At the back is a clock in a leaf-carved and shell case, on either side of which is a tree holding various colored porcelain flowers. On either side of the figures is a bobéche and candle holder in a fretted, flower and leaf design. TWO EIGHTEENTH CENTURY CHINESE CELADON GREEN PORCELAIN DRUMS On English ormolu stands of the Georgian period. Cylindrical bodies simulating drum-shaped caskets with studded rims invested with a bril- hant transparent celadon glaze. The stands of four sphinx bodies with egg and leaf members, and a base of red porphyry. The centre is enriched with a belt of festoon and lion mascarons. On the top appear Foo Dogs invested with multicolored enamels, resting on engraved draperies in folds. (2) GIOVANNI CIPRIANIT, R.A. ANGLO-ITALIAN, 1727-1820 FOUR SEASONS Four oval medallions painted on canvas, each occupied by single female figure, draped in classic garb, in postures and with emblems character- istic of the seasons of the year. These panels, designed for an English hall of the Adam period, were engraved by Bartolozzi. 267 1147 1148 1149 1150 EIGHTEENTH CENTURY FRENCH GUERIDON Louis Quinze period. On gracefully curved cabriole supports enriched by finely gilded beaded ormolu mounts terminating in cabochon sabots and crested by a shield-shaped rosetted appliqué. ‘The gondoled front ss fitted with three drawers furnished with richly gilded and chased lyre- shaped escutcheon plates. The entire body is of rosewood panelled with broad bands of coralwood and narrow bands of thuyawood. The shaped top is covered with its original morocco pad, guarded by bronze rail. EIGHTEENTH CENTURY FRENCH ROSEWOOD GUERIDON Early Louis Seize period. On chamfered cabriole supports furnished with voluted bronze mounts at the knees and moulded fillets terminating in leaf-enriched pieds de biche sabots. The front is fitted with three drawers furnished with reeded drop handles and panelled with acanthus- leaf mounts; front returns and top are covered with a parqueterie pattern of holly and rose wood. The sides bear acanthus and husk festoon appliqués; the top a fretted bronze guard rail. EIGHTEENTH CENTURY FRENCH PARQUETERIE LADY’S SECRETAIRE BY ABRAHAM HOFFMANN Louis Quinze period. Gently flaring and arched front, gondoled re- turns and back, resting on four finely tapering cabrioles. The front is fitted with one long and two small drawers enriched with protruding rectangular and shaped panels. The hinged desk flap is shaped at the top and uncovers a cabinet of four serpentined drawers, shelves and pigeonholes and a concealed compartment. The entire body is covered with an uncommon tulip and holly wood veneer of parqueterie patterns with the exterior of the desk flap bearing a trellised cartouche designed to simulate a wrought-iron transom, through which can be seen coffer- ings in light colored wood. Rocaille key escutcheons and sabots. Finely chased fretted gilded bronze handle. Signed with impressed mark:—A. H., M. E. (Abraham Hoffmann, maitre ébéniste). Abraham Hoffmann became a member of the Corporation of Master Cabinet-Makers, November 27th, 1776. He was renowned for his skill in laying marqueterie mosaics and also as a sculptor. In 1778 he be- came ‘‘Fournisseur des Batiments des menus plaisirs.” EIGHTEENTH CENTURY FRENCH ROSEWOOD AND MA- HOGANY COMMODE Louis Quinze period. Bow front fitted with three drawers; leaf and scroll carved panel and handles; flowered shell and scroll carved key escutcheon plates. ‘The returns in a similar manner. Leaf-carved sabots. Richly figured brown and white marble top. 268 - 1151 1152 11538 EIGHTEENTH CENTURY FRENCH MAHOGANY WRITING TABLE Louis Seize period. On tapering fluted turned supports headed by bronze rings; the body is panelled with finely beaded bronze mounts surrounding veneers of picked citronnier; the front bears one drawer containing a desk slide of citronnier furnished with a tooled and gilded green morocco pad of unusually beautiful color and with compartments. The drawer is oak-lined. The top is furnished with a guard rail patterned with vase-shaped balustrades. EIGHTEENTH CENTURY FRENCH MARQUETERIE COM- MODE BY FRANCOIS REIZELL Louis Quinze period. Blocked and shaped front with chamfered sides and gently curved cabriole supports. The front is fitted with two long drawers and covered with marqueterie motifs of unusual imagination and gayety; the centre with musical trophies of hollywood and amaranth, with ribbons and leaves tinted bright green laid as reserves on an amaranth ground with interlaced meanders and bands to simulate green ivory; this panel is flanked by two others designed with flower urns above, which are suspended from festooned draperies of scorched hollywood enlivened by leaves tinted bright green; above are narrow trellis bands holding motifs of quatrefoil on an olive-green ground. The returns are covered with similar marqueterie, while the stiles are veneered with uncommon reserves in pennant form which, as well as on the supports, are laid with precious woods in herringbone pattern. Finely gilded cabochon shoes and rosetted ring drop handles. Original moulded noire antique marble top. Signed, with impressed mark: Francois REIzEvt, (Maitre Ebéniste), who became a Member of the Paris Corporation, February 29th, 1764. EIGHTEENTH CENTURY FRENCH ROSEWOOD LIBRARY TABLE Louis Quinze period. On gently cabriole supports veneered with straight-grain rosewood and furnished with scroll and leaf carved gilded bronze knee appliqués and terminating in “pied de biche”? sabots. Slightly curved front with three drawers covered with a straight and figured rosewood veneer and furnished with leaf and scroll carved pro- truding handles. The reverse bears three jib drawers and is similarly veneered and mounted. The returns bear a scroll, leaf and flower carved motif. he shaped top is covered with a black morecco pad with a tooled scroll and leaf border, and is surrounded by a band of rosewood, guarded by a gilt bronze moulding. 269 1154 1155 LARGE EIGHTEENTH CENTURY LOUIS SEIZE FRENCH AUBUSSON CARPET WOVEN BY THE CELEBRATED MASTER WEAVER W. CHOCQUEEL The centre worked in a design of a wreath in grisaille and surrounded by a conventioné alized design of festoons of leaves, flowers and scrolls worked in white on a rose gr ‘ound, the whole surrounded with a scroll border. The outer border is composed of oval and hexagonal medal- lions of flowers with motifs of two-handled urns on either side; these are worked on a ground decorated with leaves and scrolls in grisaille. Signed, Mre (Maitre) W. CHOCQUEEL. Size, 23 feet 8 inches x 17 feet 9 inches. TWO EIGHTEENTH CENTURY FRENCH MARQUETERIE ENCOIGNURES BY JEAN FRANCOIS OEBEN Louis Quinze period. The body is covered with a finely figured veneer of rosewood. The bowed fronts are fitted with two doors occupied by a shell-shaped reserve of colored marqueterie designed with a bouquet of spreading garden flowers and branches with tropical birds and but- terflies perched upon them, the stems tied with a ribbon, on a ground of coralwood. The outlines of the reserve are closely followed by scrolled and gilded rocaille mounts. Each door bears a finely chiselled key escutcheon. The protruding sides are gently cabrioled and are furnished with fretted knee appliqués and scrolled sabots. Original Languedoc marble top. | These cabinets illustrate the perfection of color achieved in the veneers of this greatest disciple of Boule. (2) 270 1156 EIGHTEENTH CENTURY FRENCH AUBUSSON TAPESTRY DRAWING ROOM SUITE: SET OF TEN CHAIRS AND ONE SETTEE Louis Seize period. On tapering fluted supports, bold rim carved front; carved shield-shaped back; sloping arms and armrests. Backs and seats covered with Aubusson tapestry designed with oval floral vignettes with interlaced festoon draperies falling from a_tasselled canopy done in soft rose-greens, blues and golden-yellows on a cream ground. (11) A 1157 EIGHTEENTH CENTURY MARQUETERIE BUREAU A CYLINDRE Early Louis Seize period. Rosewood body on gently curved cabriole supports, slightly gondoled and flaring front fitted with three drawers. Each cupboard with parqueterie veneers of kingwood and others tinted green and furnished with cartouche escutcheon key plates in the classi- cal taste. ‘The drawers are headed by a slide with two leaf pull handles, which act upon a cylindrical cover occupied by a marqueterie motif in colored scorched and tinted woods of a Mediterranean harbor scene with tall fortresses and a frigate in the background and a variety of small figures in the foreground, framed in interlaced bands of satin- wood and flanked by two reserves of floral brocades on a tulipwood ground. The returns are gondoled and covered with parqueterie veneers as well as thealome top, guarded by a fretted bronze rail. 1158 SIXTEENTH CENTURY BRUSSELS TAPESTRY BY GUIL- LAUME DE PANNEMAKER: “FROM THE SIEGE OF TROY” The centre is occupied by the upstanding figure of Achilles bending over Hector’s body. Achilles appears in gold and crimson armor with feather-crested helmet. To the left are Greek horsemen and warriors on foot in magnificent armor of crimson, green, blue, and gold. To the upper right is laid a harbor scene with the burning fortress and villages, turreted castles, and the sea filled with the ships of a war fleet manned with soldiers carrying spears, some at full sail, others resembling gon- dolas and row boats of the type used in the Middle Ages. Woven in bright multicolored silk. Broad and exceptional border on four sides with flower urns resting on caryatid scrolls. The top and bottom also with vignettes of formal gardens in which can be seen figures carrying water jugs and a war hunt with warriors in medieval costume, the sides with vignette of a festive boat ride, with the bow of the ship designed as an arbor with eight small figures in richly colored costumes, and another of a royal hunt with a falcon, both in frames of ribbon-clad colonnades ; the top with allegorical figures and a canopy and the bottoms with two seated figures holding a lute and a lyre surrounded by emblems of music and symbolic animals. The blue galloon is signed with the Brussels mark and the monogram G. de P. Size, 14 feet x 15 feet. 271 1159 TWO EIGHTEENTH CENTURY FRENCH ORMOLU CARTELS BY GODEFROY Louis Quinze period. Circular porcelain dials surrounded by magnifi- cent rocaille scrolls with floral wreath enrichments upon which are reclining spirited modelled winged putti. ‘The crestings are occupied by groups representing the Huntress Diana seated under a bush of boldly spreading leaves. The drum, concealing the movement, is fretted and engraved. Original fire gilding. (2) (Formerly owned by Lady Lucas ) [SEE ILLUSTRATION | 272 TWO LOUIS QUINZE ORMOLU CARTELS BY GODEFROY | [1159] WAINSCOT OF SEVENTEENTH CENTURY CUT AND UNCUT VELOURS A RAMAGES [1160] 1160 WAINSCOT OF SEVENTEENTH CENTURY CUT AND UNCUT VELOURS A RAMAGES Louis Quatorze period. Genoese “chiselled” velvet panels, made for Charles II of England, done in two-tone emerald-green in designs of canopied pavilions composed of turreted Ionic columns supporting domes framing bold sunflower patterns and surrounded by climbing marigold branches. Arched and scroll-enriched pediment border. The lower design is composed of points with a wealth of cut and uncut leaves and flowered branches, some with quatrefoil and some with scroll petals; the whole done on a cloth of gold ground, each panel trimmed with its original tasselled silk galloon. (From the Baroness Zouche of Haryng- worth, England) The unusually imaginative design and the large and “usable” quantity of this extraordinary fabric make these hangings compose a wall coy- ering of entrancing beauty. [SEE ILLUSTRATION | 274 f LILLE HAUTE-LISSE TAPESTRY BY GUILLAUME WERNIER ABOUT 1780 [1161] “aa ¢ Ww Ane AE yy 161 LILLE HAUTE-LISSE TAPESTRY BY GUILLAUME WER- NIER, ABOUT 1730 Don Quixote appears in a full suit of armor bidding farewell to Sancho Panza, who is about to depart for the “Islas Asnarias,” as their newly appointed governor. He wears rose-colored hose. Sancho Panza is stooping before him with a sanctimonious expression. He is covered with a superb rose-colored cloak and holds in his hand a turban of the same tint dressed with a white ostrich feather. Beyond are knights and ladies flanking Rosinante, the sumptuously caparisoned charger of Don Quixote who is turning her back on the onlookers. To the left are trumpeting heralds on horseback, guards, and peasants grouped in front of the Duke’s palace, which is screened with a group of trees. To the right are the Duke and Duchess in their royal robes, surrounded by court attendants seated in front of a fountain of the most imagina- tive composition. A court attendant in colored velvet is holding Sancho’s ass, which is covered with a superb crimson velvet cloak, trimmed with rose-colored ribbons. ‘The background is of formal gar- dens, the Duke’s castle and hills beyond. (From Cornelia, Cowntess of Craven, Combe Abbey, Coventry) Size, 9 feet 9 inches x 19 feet 4 inches. [SEE ILLUSTRATION | 275 1162 BRUSSELS HAUTE-LISSE TAPESTRY BY JOSSE DE VOS, ABOUT 1700: ALEXANDER’S VICTORY ON THE PLAINS OF ISSOS AFTER THE CARTOON BY CHARLES LEBRUN The centre and left background are occupied by the host of fleeing » Persians with horsemen and horses, clad in mail of gold, and the help- less figure of the Great King Darius in his war chariot shielded by a hotly defended archway. To the right appears the youthful figure of Alexander in blue mail with a red cloak thrown around his shoulders, seated on his white charger, Bukephalos, and followed by the Mace- donians on horse and on foot, who relentlessly pursue the enemy. Noteworthy are the dignity of this brilliant composition of scores of human bodies in motion and the harmony of colors with the foreground in blues, crimsons, and blue greens, and the background in soft mono- chrome sepia. The upper right and left background in verdure with an eagle hovering aloft. Size, 10 feet x 18 feet 8 inches. A set of four Alexander battles closely resembling, but infinitely less brilliant in color, the tapestry described above and known to be by the same master weaver, hangs in Hampton Court Palace. [SEE ILLUSTRATION ] 276 BRUSSELS HAUTE-LISSE TAPESTRY BY JOSSE DE VOS, ABOUT 1700: ALEXANDER’S VICTORY ON THE PLAINS OF ISSOS, AFTER THE CARTOON BY CHARLES LEBRUN [1162] SET OF THREE EARLY EIGHTEENTH CENTURY BRUSSELS HUNTING TAPESTRIES BY JEAN BAPTISTE DE YVOS AFTER VAN DER MEULEN (COURT PAINTER TO LOUIS QUATORZE) numBeErs 1163-1165 1163. LE MATIN DE LA CHASSE In the centre appears the figure of the young Royal Huntress dressed in a blue velvet hunting jacket trimmed with gold and lined with erm- son. On her tight-fitting bodice she wears a bouquet of white flowers. On her hair, snugly tied with tlying ribbon, is a feathered “marquise” head-dress. She is accompanied by a young nobleman in scarlet and gold. The Princess is about to mount her white steed, aided by her groom liveried in scarlet and gold. To the left are the horses held by grooms in green and tan velvet and on the ground is seated an at- tendant in blue velvet, in charge of the hounds, and beyond, the at- tendants on horseback, one of whom is seen leading a horse. ‘To the right a group of servants, of which one, a woman, in a curiously striped cloak, holds an owl and a whip. The entire upper background is filled with the columnar porch of a chfiteau, an arbor of engaging design and, beyond, formal gardens with fountains and clipped walks with statues under arches, in the softest blue-greens and golden tans. The formal acanthus-leaf border is enriched with Indian-head mascarons and trophies. Size, 11 feet x 16 feet 10 inches. [SEE ILLUSTRATION | 278 Ai Sat oe Aa GB AS OE Ba ad SET OF THREE EARLY EIGHTEENTH CENTURY BRUSSELS HUNTING TAPESTRIES BY JEAN BAPTISTE DE VOS AFTER VAN DE MEULEN, COURT PAINTER TO LOUIS QUATORZE “LE MATIN DE LA CHASSE” [1163] SET OF THREE EARLY EIGHTEENTH CENTURY BRUSSELS HUNTING TAPESTRIES BY JEAN BAPTISTE DE VOS “LA CHASSE AU FORET” 1164 [1164] LA CHASSE AU FORET A young huntress dressed in flowing gold-colored robes with an ostrich feather in her hair is seen galloping on a white charger accompanied by a youthful attendant in blue velvet on a brown charger. To the right are grooms and pages in charge of horses and hounds. In the back- ground are placed the birds which have been bagged, and gun and powder cases. The background is of a finely composed landscape with soft blue-green verdure. Border similar to the preceding. Size, 11 feet x 9 feet 6 inches. [SEE ILLUSTRATION | 280 SET OF THREE EARLY EIGHTEENTH CENTURY BRUSSELS HUNTING TAPESTRIES BY JEAN BAPTISTE DE VOS “LA LEVEE DU CAMP” [1165] 1165 LA LEVEE DU CAMP The centre is formed by a royal hunter in a fur-trimmed crimson cloak with feathered hat on a white charger surrounded by a hunting party. One of the hunters is seen holding a loaded pistol ready to protect his master from an old peasant carrying an egg basket, and escorted by a sentinel with upraised musket. To the right the menials of the hunting party, one of them upbraiding an aged peasant, others playing cards, and others again looking on. ‘The upper background is com- posed of a fantastic tree, a rocky archway, through which can be seen a far-away hilly landscape with a round towered castle. In the far left background a plain with the silhouette of a hamlet. Border similar to the preceding. Size, 11 feet x 15 feet 8 inches. [SEE ILLUSTRATION | 281 THE BALLOCH CASTLE GOBELINS GOLD AND SILVER THREAD TAPESTRIES, AFTER “THE SEASONS” BY LUCAS VAN LEYDEN, 1494-1533. WOVEN BY JEAN JANS PRIOR TO 1685 NuMBERS 1166-1169 Tus celebrated set of four tapestries was the first set executed at the Gobelins after the Lucas Brussels tapestries of the sixteenth century. ‘The set represent- ing the months was woven after 1685, when royal economy prevented the use of gold and silver in tapestry weaving. The Balloch Castle tapestries were in their hiding place in a Scottish castle for two hundred years, which explains their miraculous state of preservation and the untarnished splendor of their original color values. There is an incomplete set, including only the last three of The Seasons, but also rich with gold, in the Boston Museum of Fine Arts, lent by Mrs. John T. Morse, Jr., whose father purchased them in France in January, 1852, at the Louis Philippe sale (see article by George Leland Hunter, on Tapestries in American Museums, in the “International Studio” for October, 1913). There is also an incomplete set, including the same three, but without gold, in the collection of Mrs. W. Bayard Cutting of New York. ‘There is a dupli- cate of Summer, also rich with gold, but with picture extended, in the collection of Lady Betty at Hanover Lodge. The Balloch Castle set is the only complete set of The Seasons of Lucas known to be still in existence. Mr. William G. Thomson, author of the great British History of Tapestry, wrote in 1915: “The Designer was the great Lucas van Leyden (1494-1533), whose Months of Lucas were among the famous creations of the first half of the sixteenth century, and glorified the Emperor Charles V, just as Bernard van Orley in the Hunts of Maximilian (also twelve in number corresponding to and illustrat- ing the months) glorified Maximilian, imperial father of Charles V. “Lucas Huygensz, known to posterity as Lucas van Leyden, son of a Dutch painter, was an infant prodigy. At the age of nine he already executed copper engravings. At twelve he painted the Story of Saint Hubert for Heer van Lockhorst in tempera on linen. Diirer, who met him at Antwerp in 1521, speaks of him as a distinguished engraver on copper, and made a portrait of him. In 1527 Lucas went to see the painter Mabuse in Middleburg, and with him visited Ghent, Mechlin and Antwerp, where he entertained the local so- cieties of artists most lavishly. Among his best-known paintings are his self- portrait, at Braunschweig; The Last Judgment, at Leyden; The Annunciation, at Munich; the Healing of the Blind Man of Jericho, at Petrograd; the Virgin with Angels and Donor, at Berlin. It was, however, his numerous engravings on copper, which have been published in heliogravure by Duran of Paris, that made him famous, and give us the best opportunity to get acquaint- ed with his style. Martsch lists 174 of them. Many of his paintings were 282 engraved by others, among them: Saint John Preaching in the Wilderness ; the Emperor Augustus and the Sibyl; Virgil in the Basket; the Crucifixion ; Portrait of the Emperor Maximilian; David and Goliath; Judith with the Head of Holofernes; Esther and Ahasuerus. “Of the Months of Lucas woven at Brussels in the sixteenth century, there are nine of the series of twelve in the Imperial Austrian Collection; and five in the Collection of Mrs. E. H. Harriman of New York; both sets without gold. The ancient set, rich with gold, presented by the King of Spain to Mazarin, was burned for the precious metal it contained, in 1797, during the French Revolution. But many of the pieces without gold woven at the Gobelins are still treasured as among the most precious tapestries of the French National Collection. Especially well-known are those in the Chateau de Pau. “Returning to the Balloch Castle Seasons of Lucas, I would call attention to the richness of the texture that results from the gold and silver worked into the high lights, where it rises definitely but gently against the silk and wool of the ground. Ordinary tapestries have merely the contrast of the natural wool of the faces and hands against the colored silks and wools of the ground; but tapestries enriched with gold have a triple contrast of material to enhance the contrast of ribs with hatchings and of light with dark. “While the shadows of all the Lucas tapestries woven at the Gobelins were deepened to conform to the feeling of painters and weavers of the period, the costumes remain in every detail those of the Early Renaissance, which were worn by the Emperor Charles V and his entourage at the time of his marriage to Isabella of Portugal in 1526. Note particularly the attire of the noble on the right of Autumn, with his slashed hose, puffed sleeves, and full beard.” 283 1166 SPRING, SYMBOLIZED BY FISHING On the bridge, three pairs of lovers clad in the rich costumes of the early Renaissance. In the background on the right, one of the garden scenes commonly associated with Fishing, to symbolize Spring. At the end of the bridge, in the doorway that leads into the castle, a lover taking leave of his sweetheart. On the extreme left, a gentleman notable for the gold that enriches his coat and hose. In the river, this side of the bridge, fishermen gathering, in their net, fish to add to those that already fill the large bucket on the right. Clam shells on the bank in the foreground. On the bridge, beside the column, a child eagerly watching the fishermen. The costumes of nearly all personages are richly charged with gold and silver thread. Size, 8 feet 3 inches x 8 feet 8 inches. [SEE ILLUSTRATION | 284 THE BALLOCH CASTLE GOBELINS TAPESTRIES SPRING, SYMBOLIZED BY FISHING [1166] 1167 SUMMER, SYMBOLIZED BY HARVEST In the foreground on the right, a scene that often accompanies Harvest ° when it is used to symbolize Summer, i. e., the paying of the laborers by the mistress. She sits, purse in hand, beside a table, the coins on which are being counted by the man opposite, while the youthful master, who with pen case and ink bottle hanging from his waist keeps the account in his long book, leans against the apple tree behind. In the background a load of hay crosses a bridge, and laborers bind into sheaves the grain that has been cut by the two reapers who brandish their sickles in the foreground. On the back of one of the reapers is seen what may possibly be the coat of arms of the patron for whom the tapestries were made—two arrows crossed and ribbon-tied. Note also the broad slashed hat that rests in the foreground, and the early Renaissance shirts and ribbon-gartered hose and broad shoes, especially the slashed shoes of the mistress and of the master whose sleeves have an extraordinary voluminousness characteristic of the period. Note also the birds that enliven the tree above, and the farm- house with trees and landscape in the background. Rich in gold and silver, as the preceding. Size, 8 feet 2 inches x 8 feet 3 inches. [SEE ILLUSTRATION | 286 THE BALLOCH CASTLE GOBELINS TAPESTRIES SUMMER, SYMBOLIZED BY HARVEST [1167] 1168 AUTUMN, SYMBOLIZED BY VINTAGE The scene is easy and delightful to remember. The keynote is given by the six merry children in the foreground. In the background, a vineyard with peasants gathering grapes. In the middle ground peas- ants dancing to the music made by the bagpiper who sits upon the gnarled tree stump at the left. On the extreme right, wine being poured into a barrel, while the lord of the manor himself helps a fair peasant to bring a tub of grapes, to add to those that are being crushed beneath the feet of the bearded peasant, and of the gay Lothario with slashed trousers and plumed hat, who is taking the grapes from the bucket brought by the winsome damsel on the extreme left. Rich in gold and silver, as the preceding. | Size, 8 feet 5 inches x 12 feet. [SEE ILLUSTRATION ] 288 THE BALLOCH CASTLE GOBELINS TAPESTRIES AUTUMN, SYMBOLIZED BY VINTAGE [1168] 1169 WINTER, SYMBOLIZED BY SKATING A vivid picture of winter life in Flanders in the period of the Emperor Charles V, who was born at Ghent and whose native language was Flemish. The lord and lady on the right, though not individualized, resemble closely the portraitures of Charles V and his bride Isabella which appear in the Months of Lucas. Like many of the most famous ancient tapestries, this has not one scene but two, Skating in the fore- ground, and a Conflagration in the background on the left. With ladders and hooks the peasants in the upper middle ground on the left, rush towards the blazing buildings from which horses and sheep are running in terror. ‘To the right, the winter landscape stretches de- lightfully away in hills and valleys towards the distant horizon. The skating scene is backgrounded with an imposing castle, before which two children drag a third, while a fourth runs alongside. Just this side of them a skater runs in the direction of the Conflagration, the news of which is brought by the two men with gesturing left arms on the extreme left. Most of the skaters are apparently still unaware of the fact that there is a fire, especially the youthful lovers in the fore- ground on the left, and the two children warming themselves at the brazier in the middle foreground. The draping of the costumes is effectively emphasized by the lavish use of gold in the high lights. Rich in gold and silver, as the preceding. Size, 8 feet x 12 feet 8 inches. [SEE ILLUSTRATION | 290 S TAPESTRIES ATING ASTLE GOBELIN Ss ALLOCH C THE B SK ’MBOLIZED BY bd WINTER [1169] THE GUILFORD TAPESTRIES—THE ELEMENTS SET OF FOUR ENGLISH TAPESTRIES WOVEN BY JOHN VANDREBANC, LONDON, ABOUT 1700. SIGNED JOHN VANDREBANC FECIT, GREAT QUEEN STREET, SOHO AFTER THE CARTOONS BY CHARLES LEBRUN numMBERS 1170-1173 These tapestries were executed by Lady Guilford’s order for the apartments of the Prince of Wales at Guilford Abbey, and were acquired from the Estate of the Lord North, of Wroxton Abbey. Very few tapestries of London weave are known. 1170 EARTH In the centre appears Diana in a scarlet cloak with a hunting horn at her side, holding a hound and a spear. She is guided by a winged amour to the draped figure of Venus recumbent on a cushion, sur- rounded by three winged amours with their hands pointed in motions of secrecy. The figure of the sleeping goddess is framed by a curtain of crimson cloth falling in loose folds from the lower branches of Juxuriant fruit-laden trees which extend to the upper right foreground and are filled with spirited shapes of winged amorini, love birds and macaws. To the left of Diana are winged amorini bathing from one bank of the river, at the other bank are shown putti fishing. A bush appears at the left with love-emblems attached to its branches, and a macaw perched upon a bough. Above the rocky hills and in the clouds are two winged amours waving a rose-colored cloth. There is a superb border of four circular vignettes with finely designed landscape motivés, and four octagonal cartouches with the same design, between which are garlands of ribbons and shells on a dark brown ground. Size, 10 feet 2 inches x 12 feet. [SEE ILLUSTRATION | 292 THE GUILFORD TAPESTRIES—THE ELEMENTS “EARTH” [1170] 1] 1 WATER In the centre appears a fountain on four dolphin body supports headed by a nude female body carrying the bowl, with splashing waters emitted from a group of three satyrs. To the right is a richly laden fruit ivee in blues, greens, scarlets and silver-grays. ‘The lower foregrounds composed of a gondola boldly shaped and driven by two rowing amorini draped in blue and with blue and rose-colored wings. ‘There is a hood of crimson and gold-trimmed velvet destined for the goddess Venus and upon which an amour fastens his sickle with a love-knot. Background of temples, trees, and far-away hills, with border similar to the pre- ceding. ; Size, 10 feet 2 inches x 6 feet 5 inches. [SEE ILLUSTRATION | 294 THE GUILFORD TAPESTRIES—THE ELEMENTS “WATER” [1171] AIR In the right foreground Diana is taking the love-bows from dormant amours lying on cloaks of crimson and gold, and her attendant is shown destroying a bow, while to the left another attendant holds a stolen bow, and a third is clipping the wings of a dormant amour. In the rear centre an attendant can be seen throwing the bows and emblems of love into a fire which burns around a tree upon which are fastened the emblems of wounded love. Flying symbolic birds abound in the air, and in the right upper foreground is a luxuriant tree with tropical birds perched upon its branches, while in the upper centre is an allegori- cal figure seated on clouds. To the left are tropical birds and birds of the chase. Border similar to the preceding. Size, 10 feet 2 inches x 10 feet 9 inches. [SEE ILLUSTRATION | 296 SOR THE GUILFORD TAPESTRIES—THE ELEMENTS ATR”? [1172] 11738 FIRE To the left is seen Venus recumbent upon a superbly engraved bed, half her nude body cloaked in sapphire-blue. At her right appears the nude figure of Vulcan reclining on the ground holding a hammer. Venus is addressing two winged amours carrying a cartouche upon which has been affixed the emblem of the pierced heart. A background of crimson drapery is suspended through the branch above which rises the forest filled with macaws and cockatoos. ‘The centre is occupied by amorini discharging their arrows, and another bathing his feet in the dull pond beneath. In the right background five winged amours are sharpening their weapons in Vulcan’s workshop, with their quivers on the ground. On the roof of Vulcan’s forge rests a brilliantly colored macaw, while others are in the background. Above, in the sky, the figures of the goddess’s two attendants are chasing the white pigeons of lore Border similar to the preceding. Size, 10 feet 2 inches x 14 feet 7 inches. [SEE ILLUSTRATION | 298 THE GUILFORD TAPESTRIES--THE ELEMENTS | “FIRE” [1173 | 1174 EARLY EIGHTEENTH CENTURY BEAUVAIS TAPESTRY BY PHILIPPE BEHAGLE WITH ORNAMENTS BY JEAN BERAIN, ABOUT 1700 The centre of the tapestry is occupied by a marble portico of white with a yellow base, and scrolled columns of brilliant vermilion with baluster ornaments in gold, blue, and white. ‘The doorway is designed to frame a composition of flower vase filled with garden flowers, which has been placed on a rail and is covered with sapphire-blue velvet. At the right appears a gypsy with a tambourine in her upraised hands, dancing to the music of two masked. grotesques in costumes of the Italian comedy, plucking the strings of their lutes. Above in the sky are spiritedly drawn rope performers, a female in blue breeches and crimson hose, supplied with butterfly wings, and to the right a jester with his regalia. The foreground is of black and golden-yellow marble tessellation, which continues to the right and left, supporting on the left a composition of an Oriental ruler, seated on a dais trimmed with flower festoons and flanked with Sphinx bodies, with the lion tamer at the left. To the right appears another dais with the Oriental queen who has arisen from her throne, examining the jewel chain offered her by Nubian slaves. Beneath the dais appears an elephant ridden by a youthful herald and guided by a turbaned attendant. This motif is balanced by a gorgeously caparisoned camel held by a page attired in a soft-colored Eastern costume. ‘The architecture is crowned by vine- laden arbors which appear above the curtained draperies of sapphire- blue and rose enriched with macaws and jewelled pendants. At the very right and left top are two-handled vases filled with flowers. In the centre are festooned cartouches and a multitude of emblems and arabesques superbly composed. ‘The amazing decoration, woven in the most delicate multicolored silks, is laid on a soft sepia-colored ground bordered by acanthus scrolls, and cartouches in gold, dark blue, and silver-gray. Size, 10 feet 3 inches x 19 feet 10 imches. Jean Berain, one of the most celebrated “‘maitres ornementistes” of the Louis Quatorze period, was born at Saint Mihiel in 1638, and died in Paris in 1711. He influenced French taste during the entire reign of the “grand monarque,” and his book of designs, “Livre d’Ornemens,” published in Paris in 1703, soon became the most fertile source of orna- mentation. His designs for the tapestries of Beauvais met with great favor and Madame de Montespan ordered a tapestry for the Hotel of the Comte de Toulcuse, her son, (vide the magnificent Berline, Number 1178 of the Catalogue), which was mentioned enthusiastically by Piga- niol de la Force in his “Description de Paris.” Mariette says: ‘“‘Berain était d’une trés grande vogue: on ne faisait rien en quelque genre que ce fut sans que ce soit dans sa maniére.” [SEE ILTUSTRATION | 300 EARLY EIGHTEENTH CENTURY BEAUVAIS TAPESTRY BY PHILIPPE BEHAGLE WITH ORNAMENTS BY JEAN BERAIN [1174] 1175 EARLY SIXTEENTH CENTURY ARRAS TAPESTRY AFTER BERNARD VAN ORLEY Hunting tapestry of extraordinary interest abounding with symbolism, comparisons of the suffering of the hunter to those of the hunted. It depicts a King’s hunt with attendants carrying spears and arque- buses, with a background of a medieval town between strangely knotted trees in bloom. Above appears God the Father in clouds, and beneath, in Latin, a quotation from the forty-first psalm which refers to the symbolic deer below. This animal is seen drinking in a brook in foliage with a parrot and a hunting dog. ‘The very ends are again trees and, perched upon them, two seraphim holding a label inscribed in old French: “CERF QUI POUR MOY TOUT SANS FLESCHIR SOUFFRES [DEVEN] ANT MON CONVIVE VENES EN MOY VOUS RAFRESCHIR CAR SEUL SUIS LA FONTAINE VIVE” The personages and the landscape background are woven in multi- colored threads, silks predominating, while the foliage is of deep blue- green and maroon. (Formerly owned by the Marquis of Breadalbane) Size, 12 feet 2 inches x 11 feet 3 mches. | SEE ILLUSTRATION | 302 if od EARLY SIXTEENTH CENTURY ARRAS TAPESTRY AFTER BERNARD VAN ORLEY [1175] 1176 TWO BEAUVAIS TAPESTRY CANTONNIERES BY THE CELEBRATED SALEMBIER, ABOUT 1777 Salembier is considered one of the foremost ‘‘ornementistes” of the Louis Seize period. He published a great number of “cahiers” in which he developed a graceful formalism, always recognized as his own. He is often compared to Robert Adam. Apart from his designs, engraved by Juillet, few authentic decorations of this master are known. The Beauvais Factory has executed, be- sides the above-described cantonniéres, a number of chair seats, and Madame Jubinal discovered four large panels in an old house of the Rue Caummartin, now the property of M. Georges Dury. The cantonniéres are composed of a frieze occupied by slender voluted scrolls of golden-yellow with naturalistically colored rose garlands, be- neath which are hung draperies in folds of blue and white with wreath of brightly colored flowers, fringed with gold and tied with tasselled ribbons and stiles occupied by formal arabesques of flower baskets, covered two-handled urns and festooned volutes. Borders simulating carved and gilded wood of a husk and bead pattern. Twenty-five inches at the bottom of one has been restored, but this portion can easily be removed. (2) [SEE ILLUSTRATION | 304 TWO BEAUVAIS TAPESTRY CANTONNIERES BY SALEMBIER [1176] . 1 are PAINTED PASTORELLE BOUCHER ROOM Composed of four large and three small panels painted on canvas, each occupied by groups of handsome young men and women, dressed in softly colored garments, some fishing, others trapping a white pigeon, and others again in the poses of pastoral love, in classical costumes. Backgrounds of landscapes of round towered villas and shepherds and shepherdesses in verdure with architecture and a fountain inscribed: “Fontaine de la Verité.” All these panels are bordered frames simulat- ing carved and gilded wood. ‘The upright panels are painted with vistas, and single trees in the foreground. This room was doubtless painted under the supervision of Francois Boucher, for the Beauvais factory where they served as cartoons for the tapestry weavers. Height of each panel, 9 feet; Widths, 8 feet 6 inches; 9 feet 2 inches; 6 feet 6 inches; 8 feet 4 inches; 2 feet 1 inch; 8 feet; 2 feet. [SEE ILLUSTRATION] 306 PAINTED PASTORELLE BOUCHER ROOM 1177 1178 VERNIS MARTIN “BERLINE” OF THE COMTE DE TOU- LOUSE, MADE FOR THE CORTEGE OF THE ADMIRAL OF FRANCE BY GUILLAUME & SIMON ETIENNE MARTIN IN THE YEAR 1736 The body is made in the form of a Chaise a porteur (Sedan chair) with five sliding glazed windows bound with crimson velvet, of which two form the upper portions of hinged doors fitted with original chiselled rocaille hasps. ‘The exterior is gondoled and carved, on its gilded frames, with acanthus scrolls. The dadoes lacquered with six finely painted panels, front and back with allegorical figures flanking the full armorial bearings of the Comtes of Toulouse, quartered with the arms of France; the sides also with emblematic figures and winged putti on clouds in soft flesh tints with draperies of blue and scarlet, sur- rounded by baroque scrolls of green and red gold interspersed by two-handled urns filled with naturalistically painted garden flowers falling beyond the rims of the urns and acting as climbing garlands. The interior is cushioned and lined with cut and uncut crimson Genoese velvet. It rests on a chassis of two giant and two small wheels with wrought-iron tires heavily studded with nails, with rails, footmen’s seat, wheel brakes, and shafts of baroque design painted Venetian red and heightened with gold. The coach is imbued with unusual romance, as it recalls the lives of two of the most fascinating personalities of the eighteenth century, and represents a chef d’ceuvre of the Brothers Martin. Louis Alexandre de Bourbon, Comte de Toulouse, was the son of Louis Quatorze by Madame de Montespan. He was born June 6th, 1678, and died December Ist, 1737. At the age of five he became “Admiral of France’; at twelve, he accompanied his father to Holland and was wounded at the siege of Namur. In 1702 he was squadron commander at Messina and Palermo. In 1704 he thwarted the plans of the Eng- lish in Catalonia and fought in the Malaga battle with Admiral Rooke, with great loss to the English. In 1723 he married one of the most beautiful and intellectually brilliant women at the Régence Court, the Marquise de Gondrin, before her first marriage Marie Victoire Sophie de Noailles. Her presence at the Chateau de Rambouillet was re- 308 i t t t fs t VERNIS MARTIN BERLINE OF THE COMTE DE TOULOUSE. [1178 | 1736 Ve eee) Le ae ee I ¢ , — Y, A ha! a ad J . i ue Vi an ee a ae re Sete eae i te “4 .) x) j : aL Ue a) ‘ ‘ LP eS if sponsible for its renown as a spiritual centre. Of thi born the Duc de Penthievre. | s mé St. Simon, the sceptical, speaks of Toulouse as: “Thon Padroiture, l’équité méme.” ie An object of such importance, with the royal arms 0 intimately allied with the history of the Monarchy, h. crossed the ocean. Authentic creations of this o € @ ‘ » + : yh tr RS aed ee ‘er | od a dy fg = eee par ets £35 = ” 153 ne rie Beta aie j ne Sat ‘ ‘ SUS Ts 7% ‘ 4 Bes 4 ; ‘ ey at ee [SEE ILLUSTRATIONS] =—«-_—™ 310 Rates ore. SLIL| 92,1 “ASQOTOOL AG ALIWOO AHL JO ANITHAD NILUVW SINUHA JAz9 IMPORTANT LARGE WOOLEN PALACE RUG _ KASHAN, PERSIA Elaborate border, consisting of a main border framed inside and out- side by three narrow floral borders. The main border with an elabo- rate design of undulated stems with attached conventionalized peony flowers on deep red ground, the empty spaces between being filled with a great variety of well designed flowers; the smaller borders with yellow grounds on the outside and deep blue in the middle, show diverse un- dulated vines of elaborate design. The centre field shows the classical type of composition in which there are four quarter medallions, one in each corner, repeating in somewhat abbreviated form the design of the huge centre medallion, to which smaller medallions are attached above and below. The ground of the centre field is deep red and shows in the four quar- ters the same design of rhythmically drawn trees, growing out of elaborate urns and enhanced by a profusion of rose palmettes and other flowers. ‘The same type of design prevails in the medallions, which show superposed shields with deep blue, cream-white and red ground, leading to a central sixteen-pointed star with green ground and large central rosace. This type of design is derived from sixteenth century rugs, such as the famous Ardebil rug in the South Kensington Museum. — The present specimen may be qualified as one of the finest speciniens of nineteenth century rug knotting. The composition is extremely well balanced and is sumptuous in color. ‘The knotting is very fine; the weft is pale blue, a color typical of Kashan rugs. Size, 22 feet x 36 feet. [SEE ILLUSTRATION | 312 LARGE IMPERIAL KASHAN PALACE RUG [1179] I * a eo OF ; . , > i * page F a . . 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