A unusual pair of Edwardian, satinwood and tulipwood cross banded bedside cabinets with bookcases to the top. The square bow fronted tops above a single drawer with cupboard below, the door with centre flame oval veneer, standing on acanthus carved turned legs. The removable waterfall bookcases to the tops with shaped sides and arched top.
English
Circa 1900
An Edwardian satinwood and chequer strung card table. The rectangular bow fronted top quarter veneered with wide flame cross banding, opening to a baize lined interior supported by rear gate legs. The frieze with a pair of drawers, and standing on turned and reeded legs ending in brass castors.
English
Circa 1910
A late 19th century gilt bronze and marble encrier, and ink blotter. The rectangular green marble plinth base with recessed pen tray, surmounted by an eagle with outstretched wings, flanked by a pair of inkwells, standing on bun feet. One porcelain ink liner lacking.
Circa 1880
French
Collinson & Lock
A neat, late 19th century, rosewood and holly line inlaid bonheur du jour by Collinson and lock. The three quarter pierced gallery above three frieze drawers, the table base with a single drawer fitted with a leather lined writing slide and wells, standing on four square tapering legs ending in ormolu sabots and united by a platform stretcher. Drawers stamped ‘Collinson & Lock
English
Circa 1880
A late 19th century, french, gilt bronze and marble lyre clock garniture. The circular enamel dial painted with floral swags and with grid iron knife edge pendulum set with paste bezel, below an apollo sun burst and floral mounted marble lyre. The eight day movement, rack striking the hour & half hour on a bell. Flanked by a pair of three light candelabra above turned marble bodies with paste centre band. Movement and pendulum stamped 39912.
French
Circa 1900
Siot Fondeur. Paris.
AFTER EMILE LAPORTE (1858-1907)
A late 19th century bronze figure entitled ‘Acteon’, with original gilded patination. The youthful figure stretching up having just released the arrow from his bow. Standing on a circular onyx plinth, titled to front, and with naturalistic base and fletch of arrows.
Circa 1890
French
A pair of satinwood and marquetry display cabinets from the late Victorian period, probably by Edwards & Roberts. The rectangular tops inlaid with urns and crocus wood banding, above a scroll inlaid frieze with single glazed door below, enclosing a relined interior and adjustable shelves, standing on swag inlaid bases with square tapering legs ending in spade toes. Original patination.
Circa 1890
English
A late 19th century, French, patinated bronze figure of ‘Ulysses arming his Bow’ after Jacques Bousseau ( 1681-1740). The mythological figure of Ulysses naturalistically modelled, resting on a tree stump, straining to arm his bow, and supported by a square verde marble plinth. Retaining the original dark green patination.
French
Circa 1890
Jacques Bousseau, 1681-1740, was a French sculptor. He was a pupil of the celebrated Nicolas Coustou, and was approved at the French Royal Academy of Painting and Sculpture, in 1715. In France and Spain he bore the title of King of Sculptor and was well known and respected during his lifetime. Various examples of his sculptures, as with other of his contemporaries, were copied by sculptors in the late 19th Century, to satisfy demand for classical pieces such as this.
A pair of gilt bronze and carrera marble urns in the Louis XVI style. The pinatum finials above pierced borders with marble bodies mounted with floral swags and supported by three rams heads with hoof feet standing on triform marble plinths and toupie feet. Regilded.
French
Circa 1870
‘The Dancing Faun’ Pompeii & ‘The Dancing Faun’ after Soldani.
A pair of 19th century ‘Grand Tour’ bronzes after the antique. The Pompeii faun, a bearded male, standing with his right foot forward, hands held aloft, the other depicted with his right foot on a scabellum and with a cymbal in each hand. Each on a rectangular sienna marble plinth. Original patination.
Circa 1860
Continental
A late 19th century marquetry inlaid satinwood and tulipwood crossbanded demi lune pier table. The radially vennered top with central fan, surrounded by floral swags and medallions of musical trophies and putti. The frieze, inlaid with ribbon swags, supported by four square section tapering legs ending in spade feet.
Circa 1890
English
A George IV kingwood and bronze mounted sofa table. The rectangular top with twin drop flap ends, veneered in kingwood and with a satinwood cross banding, above a pair of mahogany lined drawers with turned ebony pulls, and dummy en verso. The base with trestle ends, united by an upcurved stretcher, standing on short sabre legs ending in patinated brass caps and castors. The base with cast, patinated bronze, acanthus roundels, four of which are replacements.
English
Circa 1825
Charles Frodsham Paris
Vincenti et Cie
A French gilt bronze and porcelain mounted mantel clock. The enamel dial with roman numerals, signed Frodsham, flanked by porcelain panels painted with portrait medallions and floral panels, the bowed ends with landscapes and exotic birds, surmounted by a pair of cherubs and fluttering doves. The base with finely chased border and toupie feet, and retaining the original fire gilding. The eight day movement with Brocot suspension, rack striking the hour & half hour on a bell, numbered 3509.
French
Circa 1865
A mid Victorian, walnut and ormolu mounted, work table attributed to Gillows. The central rising top with mirrored back and removable tray, flanked by hinged compartments, above a single silk basket and standing on four cabriole legs in gilt sabots. The hinges and locks with acanthus scroll engraving. The mounts regilded.
English
Circa 1860
A late 19th century, French, onyx column with gilt metal mounts. The revolving square top, above an scroll cast capital,turned onyx stem with stepped square plinth and gilt feet. Mounts regilded.
French
Circa 1900
Edwards & Roberts
A late 19th century, Victorian, mahogany and marquetry inlaid Bonheur du jour. The central arched mirrored alcove with inlaid swag border, flanked by a pair of cupboards inlaid with musical trophies. The serpentine shaped base with a pair of small frieze drawers, supported by four slender tapering square legs with splay ends, united by an oval platform with curved supports. Drawer stamped Edwards & Roberts, also ivorine label to reverse.
English
Circa 1890
A late 19th century mahogany, Vernis Martin and gilt bronze mounted, French, Bureau à Douchine. The three small frieze drawers above a cylinder and ogee shaped fall opening to reveal a relined writing surface with three small drawers, above a single long drawer operating the cylinder when opened. The base with four square tapering legs ending in gilt sabots. Mounts regilded.
This desk, although not signed, shows all the hallmarks of the early Linke workshop practices of the 1880’s. It compares directly with the sketch on page 18 of Daybook 2, apart from the top of the legs. The Vernis Martin panels would have been commissioned separately, by the wholesaler Merlin, at this early stage of Linke’s production.
The desk is numbered ‘2’ in numerous places, and has pencil inscriptions to beneath the baize, ‘Drap Vert'(Green Cloth), and to the underside of the writing panel. The original brass lock stamped for ‘Vachette Frères’. The locksmiths first used this stamp in 1874.
French
Circa 1885
A pair of Late 19th century, Victorian, satinwood and ivory inlaid side chairs. The caned oval back with central satinwood panel inlaid with an ivory figure of a classical lady, the moulded frame with bead carved rim and floral crest, above a circular caned seat with reeded moulded seat rail and standing on turned and reeded front legs with leaf carved feet.
English
Circa 1880
A mid 19th century, Victorian, rosewood planter or ‘crocus table’. The circular radially veneered top with original ormolu pierced gallery, the centre lifting to reveal a replaced brass liner, supported by a baluster turned column with triform platform base and turned feet. Gallery regilded.
English
Circa 1850
Attributed to Gillows dated 1846.
An early Victorian, ‘Gillows’, rosewood davenport. The rectangular slope with replaced leather writing surface, and three quarter turned spindle gallery, opening to reveal a pair of real drawers over two dummy drawers enclosing pen & ink drawer opening to the side. The right hand side with three graduated mahogany lined drawers, below twin folio slides, with dummy en verso, the front and back centred by panels, standing on turned and reeded bun feet with concealed castors. Retaining the original Brahmah locks and turned rosewood handles to the drawers. One drawer signed and dated to the underside, J Wilcock 1846, by the workman.
This davenport conforms to the design in the National Archives for a Davenport made by Gillows for Ferguson & Sons.
Circa 1846
English
Several J Wilcock are recored working at Gillows at this date, but the most likely is John Wilcock. A wide variety of furniture made by John Wilcock was recorded in the ‘Estimate Sketch Books’ during the period 1826-1850.
