New Arrivals Furniture Page 4

NIF 6C - An extremely rare pair of Gothic Revival dining chairs by J.G.Crace probably designed for Abney Hall (see Jeremy Coopers Victorian & Edwardian Furniture & Interiorspage 53 Illustration 114). The head rails with solid Ebony carved florets the outer ones differing to the central one & double chamfered details which are used at all the back rest joints & at every corner below the seats with a double detail to the ends beneath each side seat rail & to the squares at the lower front legs a particular detail that has an attractive & functional purpose with wonderfully chamfered birds beak end details that stop & start on the classic H stretcher where they meet leaving a slightly chunkier part of the oak again for better strength of the joints & continuing to the back legs where they meet with a superb kick out detail. Circa 1857. £POA. Click on pictures for larger version

NIF 7C - A Single Gothic/Moorish style chair with carved arched & bobbin details to the back, turned front legs united by 4 stretchers. Circa 1890. £595. Click on pictures for larger version

NIF 8C - A good quality Gothic Revival 2 drawer desk in the style of Charles Bevan with high through tennon pegged stretcher & inlaid dot decoration to the stylised floral centre & conforming dot inlay to the arched legs & quality Brass ring pull handles. Length 41 1/2", Depth 20". Circa 1870's. £POA. The tiled planter has been sold. Click on pictures for larger version

NIF 9C - A superb quality Gothic Revival sideboard/buffet made by Hollands & Sons in the style of J.P.Seddon, with paneled back with 4 uprights with carved tops & carved florets to the upper region, a large work surface with 3 drawers below with trefoil cut-outs below the central drawer flanked by 2 large cupboards with carved & turned pillars to the fronts following down with further stylised carved details to the lower front legs. Height 89 1/2", Width 49 1/2", Depth 24 1/2". Circa 1870's. £POA. Click on pictures for larger version

NIF 10C - A rare superbly designed pure Gothic Revival table attributed to E.W.Godwin, the octagonal top with arched apron & 4 turned stretchers high up on turned legs united by a cross stretcher which follows through the lower legs with a wonderful pegged joint, the turnings are so very precise & each individual part is mirror'd further down or along making this table beautifully balanced. A great design. With original brass label that reads :- S E & R Johnson. Warrington. Established 1837. Height 27", Width 29", Depth 29". Circa 1880. £POA. Click on pictures for larger version

NIF 11C - An Anglo-Japanese side chair the in the style of E.W.Godwin & made by Collier & Plunket. Circa 1870. £POA. Click on pictures for larger version

NIF 12C - A superb quality Aesthetic Movement armchair attributed to E.W.Godwin almost identical to one he has sketched with himself seated in it . Circa 1870. £POA. Click on pictures for larger version

NIF 13C - Collinson & Lock. A supreme quality matching suite of 6 Rosewood chairs consisting of 4 dining chairs & a matching high back nursing chair & a matching low back nursing chair all with original Paisley material some quite worn. Circa 1880. £POA. Click on pictures for larger version

NIF 14C - A very large Gothic Revival Oak linen trunk the style attributed to Charles Bevan & probably made by Marsh, Jones & Cribb or possibly Lambs of Manchester. The quality is outstanding using only the best 1/4 sawn oak of the period & an original ebonised Mahogany top. The construction is planked at 45 degrees to each end with central cross supporting members & the front is straight planked with subtle carvings to the lower edges & inlaid circular details to the planks the lid opens to reveal wonderful brass Gothic hinges. The trunk has bracket feet & is in original condition which would benefit from re-finishing. C1870. Height ", Depth ", Width ". £POA.
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NIF 15C - A Gothic Revival Oak Davenport the style attributed to A.W.Pugin. The quality of this work of art is outstanding using only the best 1/4 sawn oak of the period & as you can see the condition is perfect with all it's original patina & would just require a gentle clean & wax to bring back the colour of the oak. The carving throughout this piece is exceptional, I particularly like the little acorn that has fallen leaving it's empty shell which can be seen in images 17, 18 & 19. The linenfold detail a pure Pugin signiture are finely executed. The whole composition is a feast for the eye's, such a wonderful complete work of art with perfect proportions. The side cupboard door with further Linenfold detail opens to reveal 4 graduated drawers each one a 1/2 an inch deeper than the first one & the dovetails are so fine & so precise it's a real pleasure to see this quality of craftsmanship. The initials on the back are possibly a little later but have certainly been with it most if not all of it's life, the initials are carved onto their own block & then the block has been screwed with tiny screws from inside where the drawers reside so if one didn't like the carved initials then they can be removed easily & one could have one's own block carved with their initials (but keeping the old one safe incase it turns out to be commissioned for someone important). The castors are Walnut & the lock on the door is early to mid Victorian because it is small & it has the twin shafts (image 9, it's not a great image but you can see the type of lock it is) all these details point towards this piece being made around C1850 to C1860. Height 36", Depth 27", Width 22 3/4". £POA.
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NIF 16C - A top quality Gothic Revival side or bedside cabinet with carved quartfoil details to the top flanked by carved uprights & dentil carved details around the table top & carved linenfold detail to the door with wonderful quality & stylised brass strap hinges & handle with such subtle detailing. Height 34", Depth 15 3/4", Width 53". Circa 1870's. £POA.
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NIF 17C - An incrediable Arts & Crafts iron staircase with stylised swirling floral details to the tread fronts & hand formed stylised floral details to the hand rails, an incrediable work of art that would look sensational polished or painted. There is approx the same amount of staircase which is not shown & could probably make it to 2 floors. Circa 1900. £POA. Click on pictures for larger version

NIF 18C - Bruce Talbert. Probably made by Gillows of Lancaster. A stunning Aesthetic Movement ebonised settee of superior quality with a slightly scrolling back & gilt carved florets to each back end with further tramline details & gently upsweeping arms with 4 turned supports in graduating sizes each with a central gilt line & the 5th much larger turning with gilt lines centred by small gilt balls, the spiral turned front legs & bulbous turned back legs united to each end by wonderful twin semi-circular stretchers which unite in the centre with two supports the legs on brass & ceramic castors. Circa 1880. £POA. Click on pictures for larger version

NIF 19C - An outstanding & fine quality settee attributed to Bately & made by Collinson & Lock, with fine turnings to the back & below the arms, the arms with finly carved foilate details to the upper fronts & the finly turned leags with high quality brass & ceramic castors. Circa 1880. £POA. Click on pictures for larger version

NIF 20C - E.W.Godwin attributed. A rare oak armchair made by Collinson & Lock professionaly re-upholstered in a quality hide. Circa 1880. £POA. Click on pictures for larger version

NIF 21C - A rare pair of well designed Aesthetic Movement slipper chairs on original brass & ceramic castors. Circa 1880. £POA. Click on pictures for larger version

NIF 22C - Gothic Revival oak wall cabinet with embossed leather faces to the door panels, atributed to E.W.Godwin & probably made by William Watt. Circa 1870's. Height 37", Width 20", Depth 6". £POA. Click on pictures for larger version

NIF 23C - A stunning oak Arts & Crafts full size snooker table by Riley, this table has an original advert from 1900 & is still used as the frontice page on the Riley website. Circa 1900. £POA. Click on pictures for larger version

NIF 24C - A pure Anglo-Japanese armchair attributed to E.W.Godwin, the fine quality & manufacture of this chair is in keeping with many of his pieces. Circa 1870's. £POA. The armchair below came from the same house & have been together all their lives & under close inspection they are almost certainly made by the same maker possibly William Watt. This armchair is at this moment being professionaly re-rushed in the exact same way it was originaly applied. Click on pictures for larger version

NIF 25C - A Old English or Jacobean Anglo-Japanese armchair designed by E.W.Godwin, the fine quality & manufacture of this chair is in keeping with many of his pieces. Circa 1870's. £POA. The armchair above came from the same house & have been together all their lives & under close inspection they are almost certainly made by the same maker possibly William Watt. Click on pictures for larger version

NIF 26C - Lambs of Manchester. A rare set of 4 Walnut Aesthetic Movement dining chairs with circular carved details & ebonised turned & incised details, a cup handle to the back of the head rest on turned front legs with brass & ceramic castors & a wonderful kick out back leg united by a H stretcher. Circa 1870's. £POA. I have match ing sideboards to this set of 4 chairs also made by Lambs of Manchester see Aesthetic & Anglo-Japanese Movent pages. Click on pictures for larger version

NIF 27C - A Marsh Jones & Cribb stunning quality Aesthetic Movement Walnut filing/music cabinet with pierced back flanked by capped uprights & subtle upper sides high lighted with ebonised lines with an open area to the top & fabulous carved stylised floral doors the carving of superior quality & in 4 seperate panels highlighted with ebonising & the doors opening to reveal sliding open drawers, the lower sectiction divided by 4 crisply turned supports. Height 52 1/2", Depth at top 14" x Width 18". Circa 1870's. £POA. Click on pictures for larger version

NIF 27Ca - A rare & important 2 drawer Gothic Revival library table attributed to W.R.Lethaby & made by Marsh Jones & Cribb (Late Kendal works) with original paper label to the underneath. Marsh Jones & Cribb were important furniture makers in Leeds in a similar league to Gillows of Lancaster specializing in Medieval or Gothic Revival furniture, they made from C1865 under licence to Charles Bevans his famous 'New Registered reclining chair' & Bevan designed for them until C1867. M.J & C made all the furniture for the marital home of Titus Salt Junior in Basildon near Saltaire & also made furniture to the designs of Bruce Talbert. W.R. Lethaby became their top designer in the 1880's. Height 31", Width 2'1", Length 6'1". £POA. The style & period of this table is somewhere within the late 1870's or C1880's & because Marsh & Jones absorbed Kenton & Co in 1864 & became Marsh Jones & Cribb in 1868 it cannot be pre C1868. It has a 5 digit number '50792' on the paper label which could well be the registration design number for C1886 which is about the time Lethaby started designing for them. I am waiting to find out if that number was registered by M.J.C. & hopefully who the designer was which I believe on stylistic grounds is Lethaby & because he worked with Morris & Co & Phillip Webb on occasions & particularly on Stanmore Hall with Webb. One can see a great likeness in this table to the one Webb designed for Morris's own home in Hammersmith 'Kelmscot House'. (Last 2 images). Click on pictures for larger version

NIF 27Cb - A matching dining table to the above Library table design attributed to W.R.Lethaby & also made by Marsh Jones & Cribb with original paper label to the underneath. Width 4'1", Length 6'1", Length just along the straight side before the D ends 4' 6". Circa late 1870's or C1880's. £POA. See the above table description for their history. Click on pictures for larger version

NIF 28C - Left Image. An Anglo-Japanese Walnut firescreen designed by E W Godwin & almost certainly made by Collinson & Lock. The back silk is almost identicle to Peacock wallpaper designs he did for Jeffrey & Co & coupled with the accomplished design of the firescreen & the tremedous quality of make that only C&L & a handful of manufacturers could achieve at that time almost proves beyond doubt who designed & made this rare & beutiful Anglo-Janaese firecreen. Height 43", Length 36", Depth of feet 10 1/2". Circa 1905. ON HOLD. Click on pictures for larger version

NIF 29C - A stunning Anglo-Japanese armchair. Circa 1880. Under research. Click on pictures for larger version

NIF 30C - A superb Aesthetic Movement Jas Shoolbred Hall chair with half moons to each upright a turned gallery to the top & a wonderful Mintons tile to the back on turned legs. The chair has a good design & a nice play between Walnut & Ebonising. Circa 1880. £POA. Click on pictures for larger version

NIF 31C - An exceptional exhibition quality Gothic Revival oak corner cupboard designed by Bruce Talbert & almost certainly made by Gillows of Lancaster, its style is more refined & quite early on in his career & quite unlike his heavier more common pieces. The upper section with a turned gallery with a small corner shelf with turned supports from an open display area below & tramline details to the back & sides with a type of castellated dentil moulding below which is identical to his famous Pet sideboard made by Gillows & exhibited in 1872 London International Exhibition & is also identical moulding on his famous 'The Pericles sideboard' exhibited at the 1867 Paris Exhibition where it was a Grand Prix winner & this was made by Holland & Sons. 'The Pericles sideboard' was described by The Art Journal as "certainly the most distinguished amongst competing Gothic works".
Both these Exhibition sideboards are shown in the last 4 images.
This is a very important work of art which probably would have also been exhibited.
Circa late 1860's early 1870's. Height 71 1/2", Depth from back to front center 22", Depth from back to front along the sides 21”. £POA.

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There is a bevelled glazed door to the upper section with superior quality handle & hinges opening to reveal an adjustable shelf & small open area to the front flanked by 2 small turned galleries with fine nipple points & another full open shelf below with turn supports & panelling to the back.



The central bow fronted cupboard with a sculptured dentil detail & curved doors below set slightly forward with different circular stylised carved floret's to each door typical to Talberts work & conforming handle & hinges & a turned gallery below. There is a wonderful carved detail adjacent to the door hinges which feathers down to a tramline then the sweetest little carved detail just above the ring turnings at the top of each leg. The turned legs adjacent to square legs with conforming tramline details making this a multi leg corner cabinet, a wonderful design detail, the 4 front legs & rear leg uniting the shaped lower shelf with line detail to the front edge.





ABOVE
The Pet sideboard made by Gillows & exhibited in 1872 London International Exhibition
The Pericles sideboard' exhibited at the 1867 Paris Exhibition where it was a Grand Prix winner & this was made by Holland & Sons.

NIF 32C - Tutankhamun. An extremely rare pair of stunning 1920's Egyptian revival armchairs, a copy of the most spectacular of all the six chairs found in Tutankhamun's tomb. The original when found by Howard Carter was wrapped with sheets of gold & silver & then inlaid with an array of semi-precious stones, faience & coloured glass, which together were worked into a wealth of symbolic & decorative elements. Finely detailed lion's legs support the chair, while the arm panels take the form of winged uraei (or cobras) surmounted by the double crown of Upper & Lower Egypt. Partially visible is the exquisitely rendered chair back, which depicts Queen Ankhesenamun anointing her husband beneath the life-giving rays of the sun disc. Circa late 1920's. £POA. Click on pictures for larger version

NIF 33C - A stunning Egyptian Revival garden bench with Sphinx heads to the top & Sphinx wings & legs to the front & a pair of dragon like eagles face to face seperated by a Lotus Flower with a scroll style lower stretcher joining the legs. Height ", Width ", Depth ". Circa 1880. £POA. Click on pictures for larger version

NIF 34 - An outstanding pure Arts & Crafts 3 fold Walnut screen depicting 3 scenes of 3 Saints & dragons with exceptionally skilled carving & intricate detail. The rich polychrome enamel colours bring this master piece vividly to life. The first scene is of St Michael slaying the Dragon & a tall flower to his left with flames lashing out from a cave I presume from the dragons mother within, then what looks like St Andrew the fisherman training or blessing baby dragons by the sea with a Galleon anchored just a little way out to sea & then finally St George upon his horse with the Dragon as if he has been mastered laying beside him as a pet would & with a castle in the background. The back has Gilt crosses within circles on a Green background. By Jennifer Edwards, 11/11/2007. This is very intriguing work of Art & a piece I am researching, it is quite possible that this is a rare Morris & Co piece, the polychrome colours & carvings are quite reminiscent of the work Morris & friends did at the Kensington Museum. If anyone could help with this then I would happily gift them a reward fitting that information. Many thanks Tony. The three folds of the screen form a triptych with each picture telling its own story but the whole portraying a far more important and broader narrative. Left Fold I think that this is definitely St Michael. The figure has the spear and sword (but no shield as is usual) and the dragon is shown under his foot – a typical stance. He is clothed in armour; this is usually chain mail but that might be very difficult to carve in hard walnut. He appears young and handsome as portrayed in Renaissance art. His holiness is accentuated by his head and halo lying in front of the green border unlike the top of his wings which lie behind. The dragon is large compared with those in the other scenes. It represents the Devil and the combined evil as enemies of God; that could account for its size. It is an old dragon: Satan is no longer young. The scene is taken from Revelations 12:7-9 The flower is not an attribute of St Michael as such. It looks quite like the way a lily is often depicted in medieval paintings. The lily depicts chastity and purity and, as such, is therefore associated with the Virgin. It is often shown as an attribute of the Archangel Gabriel because of the connection with the Virgin at the Annunciation. This is not Gabriel – too militant. However, there is a possible link with St Michael in that it could be a sapling of the Tree of Knowledge. St Michael instructed Eve to plant a branch of this on Adam’s grave. It grew, was transplanted by Solomon into the garden of the Temple and (quite a bit later in the story) was fashioned into the Cross on which Christ was crucified. This could account for the small gold cross in it centre. It acts as a link between St Michael and the Church. The Tree of Knowledge represents good and evil (Genesis 2:9) as does St Michael killing Satan. Right Fold The thirteenth century book, ‘The Golden Legend’ by Jacopo de Voragine, tells the story of St George. A terrible dragon was dominating the land around Slena, in Lydia. It lived in a marsh close to the town and a lake. The population sent human sacrifices to appease him. St George happened to be riding by when a young maiden, who was the daughter of the king, was about to be eaten by the dragon. He made the sign of the cross and was therefore empowered and able to slay the dragon. The King and town inhabitants were so impressed that they all converted to Christianity and were baptised. Once again, the dragon represents Evil and his slaying by St George is the triumph of good over evil or Christianity over paganism. There is another tree possibly depicting both good and evil. The picture shows the city walls and the lake in the background. St George wears a white tunic for purity and his helmet is of middle-eastern style of that time. He came from Capodocia in Turkey. Centre Fold This is the most interesting of the three paintings. I think that the figure represents Christ as a young man possibly at the time of His first temptation. Having been in the desert for 40 days and nights, He was tempted by the Devil (dragon) to turn the rocks into bread and so break His fast. However, there is not much in the picture to be so specific about such an episode. It could just portray Christ giving the benediction to the dragons/demons representing evil. He carries a staff as the Good Shepherd and has sandals on His feet. He appears to be clothed in blue which symbolizes Heavenly love and He is depicted wearing this colour while on earth. His seated position is one often used when He is preaching to a small group. The ship is an iconographical symbol for the Church; the early Christian fathers likened the Church to a ship in which the faithful found safety and were carried to salvation. St Ambrose was the first to liken the Church to a ship with the mast appearing as the Cross. This is very clear in this picture. I do not think that it has anything to do directly with the Miracle of the Fishes or Christ walking on water. There is another tree which again represents the Tree of Knowledge, a mix of good and evil, and Christ’s later crucifixion. It is close to the figure so relates to it closely. Alternatively, it could be an olive tree which, because of its fruitfulness with oil and olives, represents the bountifulness of God towards His believers. The dragon appears to have several heads and tails; it could represent a ‘multitude of evils’ instead of just Satan as an entity. Interestingly, the demons/dragons lie between the figure and the ship – this could represent the interference of the faith of the Church by the Devil by getting between Christ and His subjects. Overall I think the three pictures represent three manifestations of the triumph of God over the Devil or/and of Good over Evil. Each picture is painted in strong primary colours. Blue represents Heaven and heavenly love; green the colour of spring and the triumph of spring over winter. It is very interesting that the sky is gold in each of the paintings because this is the sign of divinity and indicates the sacredness of what is depicted. Thus, the sky acts as a sacred backdrop to the scenes in the foreground as well as the haloes indicating the sanctity of the individual figures. The dragons are interesting in that they appear to be multi-headed and multi-tailed with wings. Evil can be represented by dragons, demons or snakes. Some of the dragons here appear to be hybrids. There used to a fabulous depiction of evil called the basilisk. It was supposed to be half cock and half snake but I have seen a drawing of one which looks exactly like the dragon in the centre picture. It used to be an accepted medieval symbol of the Devil or Antichrist and could kill at a glance. It was originally mentioned in the Book of Psalms. St Augustine included it in his four aspects of the Devil which were downtrodden by the triumphant Christ. The basilisk was well established in the Middle Ages but not used as a symbol in the Italian Renaissance so is not found very frequently. Ideas about Age and Origin of the Screen As a piece of furniture I am not qualified to identify the screens age. However, it does seem to be an extremely interesting and (I would guess) valuable piece because of its uniqueness. I have not been able to find another that is remotely like it in any books I have researched. I think it could be an important work. The following are just a few ideas, thoughts and suggestions (in no particular order): The use of walnut is interesting in that it could have been used for a wealthy client such as a church or senior clergyman. I would think that it was certainly made as a one-off for a client who lived in a Victorian-Gothic pile or an ecclesiastical setting. That would tie in with the richly decorated back and all the crosses. The topics of the paintings are in a medieval style and polychromed bas-relief carving was typical of that original period. I presume it is not older than nineteenth century? The subject matter implies a Catholic patron. This is not a Church of England piece – too many devils and too much iconography. There was a marked upsurge in Catholic furniture after the Catholic Emancipation Act of 1829. many new catholic churches were built with associated presbyteries etc. – all requiring furniture N.B. This interpretation has drawn on: Ferguson, George ‘Signs and Symbols in Christian Art’ (Oxford University Press: Oxford, 1961) ‘Hall’s Dictionary of Subjects and Symbols in Art’ (Murray: London, 1979) De Voragine, J., ‘The Golden Legend’, (Penguin: London) Click on pictures for larger version

SOLD - A pure Gothic Revival hall/serving table of superior quality with wonderful hand carved details below the top at each end & to each side with longer conforming Gothic carvings to the middle flanked by twin uprights which unite the lower stretchers that have 45 degree chamfers to the top edge. Circa 1880. £SOLD. Click on pictures for larger version

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