2014 Catalogue

88 FULHAM ROAD
FINE ANTIQUE FURNITURE

Front cover:
DETAIL OF GEORGE III PAINTED COMMODE (PAGE 2)

i hope you enjoy this, our latest catalogue.
Quality pieces have become even more difficult to find; within these pages we hope you will find numerous
items which meet this criteria.
We have recently refurbished our showrooms, the solid oak flooring on the ground floor giving a much more
contemporary setting to the pieces we display in keeping with current interior design schemes.
as ever we welcome you to our gallery and whether you are thinking of purchasing any pieces now, in the
future or wish to discuss any aspect regarding antiques or simply to browse our four floors of antiques at your
leisure, we look forward to seeing you.
Michael Hughes, Melvyn Lipitch
MichaeL hughes Peter LiPitch

email: info@michaelhughesantiques.co.uk email: antiques@peterlipitch.com
www.michaelhughesantiques.co.uk www.peterlipitch.com
88 Fulham road · London · sW3 6hr

telephone: +44 (0)20 7584 1120 · telephone: +44 (0)20 7589 0660
88 FULHAM ROAD
A MAGNIFICENT REGENCY PERIOD SPECIMEN MARBLE

AND CARVED GILTWOOD CENTRE TABLE
A magnificent circular specimen marble top profusely inlaid with 161 coloured stones in concentric rings, including
imperial porphyry, granites, serpentines, alabasters and semi-precious stones as well as marbles, centred by a
circle of lapis lazuli and borded with Belgian Black, Carrara and Verte Antico marbles; the edge of the table top
with a border of oak leaves with a brass band, supported by a base of three magnificent ‘dolphins’ entwined
around a central column and on a base of stylised foliage raised on scrolled feet.
English, Circa 1820
Height 34 inches (86.5 cm)

Diameter 46 ½ inches (118 cm)
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88 FULHAM ROAD
FINE ADAM COMMODE ATTRIBUTED TO

GEORGE BROOKSHAW CIRCA 1780
The painted panels after Angelica Kauffmann. The yellow Jura brocatelle marble top above a leaf and beaded gilt
frieze and a bowed panelled front with oval beaded reserve of a hooded seated classical female figure (probably
emblematic of Love) within an entwined ribbon and berry border flanked by upright panels decorated with
classical urns on plinths issuing wheatsheaves and leaves, further flanked by bowed cupboard doors, one with
Cupid tethering a dove (emblematic of chastity), the other of Cupid emptying a ewer, within entwined ribbon
and berry borders, each enclosing a shelf. All on a deep russet ground, on turned reeded and beaded gilt feet and
turned toes. With a paper depository label under the marble and the backboard with an inventory number ‘GM67’.
Height 35 inches (89 cm)

Width 49 inches (125 cm)
Depth 20 ½ inches (53 cm)
Provenance:
Blairman & Sons Ltd. (1953).
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Literature:
illustrated in, M. Jourdain and F. Rose, ‘English Furniture: The Georgian Period (1750-1830)’, 1953, p.145, pl.112.
Related Literature: E.T. Joy, ‘A Painted Neo-Classical commode’, Connoisseur, vol. 169, September-December, 1968,
pp. 166-167 Lucy Wood, ‘George Brookshaw, Peintre Ebéniste par Extraordinaire’, Apollo, June 1991, p. 390, fig. 8
Lucy Wood, Lady Lever Art Gallery Catalogue of Commodes, 1994, pp. 246-253 Yvonne Jones, ‘George Brookshaw’,
Furniture History Society newsletter 173 February 2009.
This present piece belongs to a group of closely related semi-circular commodes attributed to the cabinet-maker
and botanical artist George Brookshaw. These include an example from the collection of Algernon Heber Percy,
Hodnet Hall Shrophire, with reputed provenance from Hugh Percy, 1st Duke of Northumberland (1714-86), at
Northumberland House, Strand, sold Christie’s London, 23 November 1967, lot 116 and Sotheby’s London, 7
November 1997; a commode formerly at Dyrham Park; and a commode sold by James Orrock, to Sir W.H. Lever
in 1903 (see L. Wood Catalogue of Commodes op. cit., p. P.246, footnote 13 and p. 247. figs 238 and 239 and No.
30, pp. 248-251). This group shares a very similar scheme of painted decoration carved guilloche borders. However
the offered example is distinguished by its red-ground palette to the three front panels and the presence of a
marbletop as opposed to a painted top.
George Brookshaw established his cabinet-making business on Curzon Street by 1777. He later moved to 48 Great
Marlborough Street in 1782, describing himself as a cabinet-maker, commode maker and ‘Painter Ebéniste par
Extraordinaire’. Brookshaw was born in 1753, although nothing is known of his father’s trade, his brother is later
recorded as a engraver working in Paris and Yvonne Jones, former head of Arts and Museums, Wolverhampton
has recently discovered that Brookshaw was apprenticed to a Birmingham japanner. In 1778 he married Sobieski
Grice, daughter of a wealthy Birmingham gunmaker and it may well of been her dowry that established him in
business. He listed his specialism in painted furniture and ‘....a great variety of new fashioned chimney-pieces, to
correspond with his furniture, which are all made in a style peculiar to himself, in copper and marble painted and
burnt-in...’ His clients included the most fashionable patrons of the time including the Prince of Wales, Duke of
Devonshire, Lord Delaval, the Duke of Beaufort and William Blathwayt . He last appears in the trade directories
around 1794 and it would seem that he then set forth on a career as a botanical illustrator, publishing, A New
Treatise on Flower Painting using the alias G. Brown although in 1816, a virtually identical work was published
under the name George Brookshaw Esq. Lucy Wood documents the case for them being the same person in ‘George
Brookshaw’, parts I and II, Apollo, May and June 1991, pp. 383-397 as well as speculating that the failure of his
marriage and a withdrawal of capital investment may have resulted in the cabinet-making business ceasing to
trade in the 1790s.
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A PAIR OF GEORGE III CARY GLOBES
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A pair of 21in./53.5cm celestial and terrestrial Cary globes each raised on tripod fluted and tapering legs joined
by cross stretchers with central compass and ending in brass castors.
Circa 1810
Literature:
One of the most important globe making firms of the early 19th. Century. Founded by John Cary (1755-1835), an
engraver and map seller. In 1770, he was apprenticed to William Palmer and made a freeman in 1778. He started
his globe making business in 1791, when he advertised terrestrial and celestial globes varying in size from 3.5in.
to 21in. In making globes and plantaria, Cary worked with his brother William (1759-1825). His main business
was making musical instruments. Cary’s firm was located at 181 The Strand and in about 1820, John moved to 86
St. James’s Street, leaving his location in the Strand to is two sons, George and John Cary Jr. who also dealt in the
globe making business.

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A FINE GEORGE III MAHOGANY BOOKCASE CABINET
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The lower section with a pair of cupboard doors opening to three sliding shelves. The cresting with a partial paper
label inscribed KENSINGTON, the backs of each section with chalked number DW938. The reverse of
the right cupboard door bearing a black ivorine Norman Adams label.
This bookcase combines several decorative motifs found in Thomas Chippendale’s The Gentleman and Cabinet-
Maker’s Director, 1754: the double C-scrolls and scrolled acanthus carving of the broken-pedimented cresting
is similar to the design of a ‘Desk & Bookcase’, pl LXXVIII, and is closely related to a bookcase which was with
Maple & Co., Ltd, London, illustrated,The Antique Dealers’ Fair and Exhibition, 1954, p. 56. The gothic and
Chinese style glazing bars share affinities with a design for a ‘Library Bookcase’, pl. LXXI, and those on a breakfront
library bookcase (one of four) almost certainly supplied by Thomas Chippendale to Sir Rowland Winn for his
London house, 11 St. James’s Square, and now at Nostell Priory, Yorkshire; see C. Gilbert,The Life and Work of
Thomas Chippendale, 1978, vol.II, p.41, fig. 65. The glazing bars are also similar to those of a ‘Chinese Case’, pl.
106, and the glazing bars of another breakfront bookcase possibly supplied by Chippendale for Henry Hobhouse’s
house in Bristol, moved to Hadspen House, Castle Cary, Somerset, sold at Sotheby’s house sale, Hadspen House,
May 29-31, 1996, lot 24, and later, Christie’s New York, October 18, 2001, lot 300 Lastly, the use of applied carved
flower- head paterae to the corners of the cupboard doors of the present lot is a motif used frequently by
Chippendale and is seen in a design for a ‘Desk Bookcase’, pl. CVII, of the 3rd edition of the Director.
Circa 1765
Provenance:
Norman Adams, Ltd., London.
Height 8 ft. 2 inches (248.9 cm)

Width 4 ft. 4 inches (132.1 cm)
Depth 18 ¾ inches (47.6 cm)
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AN EXCEPTIONALLY RARE SET OF THREE 19TH CENTURY

FLORAL SHELL WORK ORNAMENTS
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An exceptionally rare set of three shell work floral ornaments consisting of

one pair and one central ornament on slightly differing stand. Created with a
large variety of shells from many parts of the world to form a highly colourful
display of fauna, flowers and wheat sheaf of superb quality, delicacy and artistry.
Each ornament within a glass dome and mahogany stand raised on turned
feet. The floral bouquets with a mass of flower heads and wheat sheaf raised on
decorated urn vases surrounded by shells and fauna.
Circa 1840
Provenance:
The creation of pieces made from shells can be found in various forms, examples
being the Sharpham Stand made in the late 18th Century to contain
a shell work grotto and an Irish cabinet made in 1810 containing a fantasy grotto
of shell work, made by Elizabeth Penrose. Shell work pieces are known from the
17th Century, by the 18th Century shell work had become a popular craft usually
carried out by women, in 1703 the Edinburgh Gazette was advertising the
services of a woman in London teaching shell work techniques. The diarist
Boswell also refers to a Miss Mclean an accomplished shell work lady in Scotland.
Literature:
Showing one of pair in the A very similar pair in the Victoria and Albert Museum and illustrated in the
Victoria and Albert Museum ‘Dictionary of English Furniture’ by Ralph Edwards and Percy Macquoid, 1954
and illustrated in Dictionery rev. ed. Vol. 111, p.116, fig. 1.
of English Furniture.
Pair: Single:
Height 24 inches (61 cm) Height 30 ¼ inches (77 cm)
Diameter 9 ½ inches (24 cm) Diameter 12 ¾ inches (32 cm)
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A GEORGE II WALNUT ARMCHAIR
A George II walnut armchair with outswept arms and shaped wings. The front cabriole legs carved with acanthus
leaves and paterae and finishing with claw and ball feet. In fine condition throughout; re-upholstered and covered
with French silk.
Circa 1725
Height 45 ½ inches (116 cm)

Width 36 ½ inches (93 cm)
Depth 20 inches (51 cm)
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A CHIPPENDALE PERIOD PARTNERS DESK

OF A RARE DESIGN
Constucted in mahogany, the green leather re-lined top with two ratcheted reading rests above a carved fret-work
frieze. The pedestals each with side carrying handles and with three graduated drawers to both sides and retaining
their original brass swan-neck handles.
Circa 1765
Certain constructional features, such as the central placement of the casters, the short-grain framing within the
drawer cavity and the use of red wash were used by Thomas Chippendale, while the use of a blind-fret frieze
appears on a documented secretaire cabinet supplied to Sir Lawrence Dundas, Aske Hall, Yorkshire, (see
Christopher Gilbert, The Life and Work of Thomas Chippendale, London, 1978,vol II, page 56, fig87.
Height 30 ¼ inches (77 cm)

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AN EXCEPTIONAL PAIR OF GEORGE III

GILTWOOD MIRRORS OF OVAL FORM
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An exceptional pair of George III giltwood mirrors of oval form and finely carved with trailing leafwork, paterae
and rams-heads. The pediment with a flamed urn on a tripod. Retaining partial original gilding.
Circa 1775
Width 36 inches (91.44 cm)

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A PAIR OF GEORGE III FIGURED SATINWOOD

AND PAINTED SIDE TABLES
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A pair of George III period figured satinwood demi-lune side tables each inlaid throughout with tulipwood and
purple-heart crossbanding and with painted floral decoration to the frieze and legs. Standing on square tapered legs.
Circa 1790

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A PAIR OF GEORGE III MAHOGANY ARMCHAIRS
A pair of George III Mahogany Armchairs with shaped carved and moulded ‘show-wood’ upholstered backs with
scrolled arms and standing on carved cabriole legs.
Circa 1775

Width seat 24 ¾ inches (63 cm)
Depth seat 21 ¼ inches (54 cm)
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A GEORGE III MAHOGANY COMMODE IN THE

MANNER OF HENRY HILL OF MARLBOROUGH
A George III mahogany commode in the manner of Henry Hill of Marlborough. Of serpentine form and veneered
in highly figured “flame” mahogany with crossbanding to the top and drawer fronts. Having a brushing slide to
the frieze and with gilt brass swan-neck handles.
Circa 1780

Depth 22 ¼ inches (56.5 cm)
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A GEORGE 111 MAHOGANY AND INLAID IVORY CELLARET
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An exceptionally rare if not unique George III

mahogany and inlaid ivory cellaret, the
rectangular hinged top with a raised centre
section inlaid with ivory and with a border of
ivory of circular interlaced pattern design, the
top opening to reveal fitted compartments
for 24 wine bottles, the front inlaid with ivory
swags and ivory roundels and the corners with
rusticated quoins, the cellaret raised on square
tapering legs also with rusticated quoins.
Circa 1795
Literature:
A longcase clock by Robert Anderson of Liverpool, illustrated in ‘The Noel Terry Collection of Furniture and
Clocks’ published by Christie’s, page 24. Has similar rusticated quoin design. The collection now on display
at Fairfax House, York.
The cellaret although made in England, it may have been sent to India to be inlaid with ivory, possibly by an
English merchant with Indian connections or was inlaid in England incorporating designs of Indian origin.
Height 22 ¼ inches (56.5 cm)

Width 28 ½ inches (72.4 cm)
Depth 19 ½ inches (49.5 cm)
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A FINE GEORGE II EAGLE CONSOLE TABLE
A fine George II Eagle Console table with a marble top, having a vitruvian scroll carved apron with punch
decorated ground, over a finely carved eagle on stylized rockwork base standing on a plinth having a gadrooned
carved edge.
Circa 1745
Height 31 ½ inches
Width 31 ½ inches
Depth 20 ½ inches
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GEORGE III SATINWOOD DRESSING CHEST OF DRAWERS
George III satinwood dressing chest of drawers of serpentine shape. The top inlaid with an oval ‘flame-figured’
mahogany panel within a cross-banded border. The top drawer with a fitted writing surface and sliding to reveal
lidded compartments and a folding mirror. Retaining its original gilt-brass handles and standing on swept
bracket feet.
Circa 1790

Depth 22 ¼ inches (56.51 cm)
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A PAIR OF REGENCY GILTWOOD WALL-LIGHTS
Each with a ram's-head finial above an eagle on a leaf and tassel-carved upright issuing two scrolling branches
with figure heads supporting gilt-metal sconces, the sconces drilled and fitted for electricity.
Circa 1815
Provenance:
Probably acquired by Sir James Montgomery 2nd Bt., for Stobo Castle, Peeblesshire, and by descent at Stobo and
Kinross.

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A PAIR OF GEORGE III REGENCY PERIOD

PAINTED AND GILDED ELBOW CHAIRS
A pair of George III Regency period painted and gilded

chairs with later decoration in the manner of Henry
Holland, with channelled toprails, finials and ormolu
splats in the form of a laurel wreath, with scrolled
arms, the cane seats now with a squab cushions,
above panelled friezes and corner paterae, raised on
channelled sabre legs.
Circa 1810

Provenence:
A similar set of chairs reputed to have come from
Marquesses Conyngham, Slane Castle, Ireland sold in
Christie’s, 29th June 1978. Lot 28. Decorated in
simulated rosewood and gilt.
Literature:
The design for these chairs is linked to designs by Henry Holland. These chairs incorporate aspects of design
found on two different patterns of chair supplied to Samuel Whitbread for Southill under the direction of Henry
Holland, see Francis Collard publication, ‘Regency Furniture’ page 44/45. Similar chairs in Brighton Pavilion.
A PAIR OF REGENCY PERIOD ELBOW CHAIRS

IN THE MANNER OF THOMAS HOPE
A pair of George III Regency period black and gilt

elbow chairs in the manner of Thomas Hope, the
curved, padded top rails above an ‘X’ back with
central paterae and with moulded inswept arms with
carved and gilded acanthus leaf, the cane seats fitted
with squab cushions, the seat rails with fluted gilding
and paterae, raised on front sabre legs and outswept
legs at the rear.

Depth 21 inches (53.5 cm)
A more elaborate mahogany chair but of similar form

illustrated in Thomas Hope, ‘Household Furniture
and Interior Decoration’, London, 1807, plate 11, no.3
and 4.
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A NEST OF qUARTETTO TABLES IN MAHOGANY
A nest of quartetto tables in mahogany, the

shaped tops crossbanded with satinwood and
rosewood. Each standing on twin turned
‘bamboo’ supports ending with inlaid swept
feet and with curved stretchers.
Circa 1780

REGENCY MAHOGANY AND EBONY INLAID WINE COOLER
A regency mahogany and ebony

inlaid wine cooler with Leopard’s
head carved corners above stop-
fluted cants on carved claw feet.
Retaining its original liner. Very
good colour throughout
Circa 1820

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PAIR OF ‘WELLINGTON’ CHESTS OF DRAWERS
A superb pair of ‘Wellington’ chests of drawers in highly figured mahogany with original knob handles and
unusually with panelled mahogany backs enabling them to be used free-standing. Each one with a locking pilaster
on the right hand side. Variations in dimensions.
Circa 1840
A) Height 56 ½ inches (144 cm) B) Height 57 ½ inches (146 cm)

Width 23 ½ inches (60 cm) Width 24 ¾ inches (63 cm)
Depth 17 ¼ inches (44 cm) Depth 18 ¼ inches (47 cm)
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A NINETEENTH CENTURY BRASS HALL LANTERN
A nineteenth century Brass Hall Lantern of hexagonal form and with an opening door to one facet.
Circa 1850
Provenance:
By repute, Knypersley Hall, Staffordshire.

Width maximum 19 inches (48.5 cm)
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88 FULHAM ROAD
A GEORGE III MAHOGANY SERPENTINE SHAPED SIDE CABINET
A George III mahogany serpentine shaped side cabinet inlaid throughout with satinwood cross-banding. Having
three graduated drawers to the centre flanked by cupboards at each end. Standing on square tapered legs with
spade feet.
Circa 1780

Depth/centre 24 ½ inches (62 cm)
Depth/ends 15 inches (38 cm )
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A SET OF EIGHT GEORGE III HEPPLEWHITE

PERIOD ELBOW CHAIRS
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A set of eight George III mahogany Hepplewhite period elbow chairs after a design by James Wyatt, each with an
oval back with bead work and three vertical reeded splats with flower head centers, the beaded arms with scrolled
rosette carved terminals, the stuff-over seats raised on front square tapering legs with bead work and headed by
rosettes and terminating in spade feet.
Six chairs of same form and one pair with differences.
Circa 1780
Provenance:
Frank Partridge Ltd.
Literature:
A similar chair obviously from the same workshop illustrated in R. Edwards & Percy Macquoid, ‘Dictionery of
English Furniture’ another example in Temple Newsam House and illustrated in the Furniture of Temple Newsam
House and Lotherton Hall, by Christopher Gilbert, Vol.1. plate 83.
James Wyatt:
A drawing by him, ‘Four variations of armchairs and side chairs’, now in the Bibliotheque Jacques Doucet, Photo
Societe des Amis de la Bibliotheque D’Art et d’Archeologie, Paris. He produced many designs both for the firms
of Hepplewhite and Gillow.

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AN IRISH GEORGE II CARVED GILTWOOD MIRROR
A George II Irish mirror in original dry stripped state and retaining traces of original gilding, the later mirror plate
within an acanthus carved frame, surmounted by a flowering urn flanked by pheasants, the apron centred with a
carved male mask.
Circa 1740
Related Irish mirrors illustrated in ‘Irish Furniture’ by The Knight of the Giln and James Peill.

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A PAIR OF GEORGE III SHERATON PERIOD CARD TABLES
A pair of George III Sheraton period rosewood card tables, the tops crossbanded in rosewood and with a wide
band of satinwood inlay, opening to reveal a baize lined interior, above a frieze with rectangular panels of inlaid
box wood and a centre tablet with milled moulding, the tables raised on four turned legs with turned roundels
and inlaid stringing.
Circa 1795

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A REGENCY ROSEWOOD AND BRASS INLAID CENTRE TABLE
A regency figured rosewood centre/dining table,

the top with a scroll pattern brass inlaid border.
Standing on an inverted triangulated base inlaid
with kingwood and raised on swept ormolu feet.
Circa 1820

Diameter 48 inches (122 cm)
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A GEORGE II ROSEWOOD AND YEW WOOD COFFER
A fine and unusual George II rosewood and burr yew wood coffer of excellent colour, the upper part with a hinged
lift-up top, the top sides and front in rosewood crossband in burr yew wood, purple heart banding and boxwood
and ebonised lines, with two drawers below with crossbanding and inlaid lines and retaining their original
handles, all supported on a stand with square legs.
Circa 1750

Diameter 48 inches (122 cm)
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A PAIR OF GEORGE III GILTWOOD CHAIRS

DESIGNED BY JOHN LINNELL
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Pen and ink drawing of chairs, now in the Victoria and Set of six chairs supplied by Linnell for Inverary
Albert Museum archive. Castle.
An exceptional pair of George III giltwood armchairs designed by John Linnell, each made with removable back,
seat and arm rests, the channelled frame carved with guilloche and surmounted by a laurel-bound cabochon
cartouche, the out-scrolled arms terminating in acanthus spheres and with husk-trailed panels, the serpentine
channelled seat-rails carved with entralac design and centred by a acanthus foliated cartouche, the chairs raised
on chamferred tapering legs with guilloche panels and ending in moulded feet.
Circa 1770
Height 37 ½ inches (95.5 cm)

Literature:
The original pen and ink design for these chairs by John Linnell in the archives of the Victoria and Albert Museum.
Identical chairs illustrated in ‘William and John Linnell, Eighteenth Century, London, Furniture Makers’ by Helena
Hayward and Pat Kirkham. A set of six chairs and two settees made for the Duke of Argyll for his home at
Inveraray Castle.
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A GEORGE III MARqUETRY PIER TABLE

ATTRIBUTABLE TO JOHN LINNELL
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A fine George III marquetry pier table in sycamore, harewood, and mahogany attributable to John Linnell, the
D-shaped top with trellis work and leaf work marquetry within crossbanded border and a gilt-metal leaf-cast edge
above a frize with marquetry roundels and simulated fluting above a gilt-metal entrelac border, all raised on square
tapering legs inlaid with entwined vine headed by satinwood panels with later metal mount borders.
Circa 1780
Literature:
A virtually identical pair of tables illustrated in ‘William and John Linnell, Eighteenth Century London Furniture
Makers’ by Helena Hayward and Pat Kirkham, plates 309 and 310. Now at Hevingham Hall, Suffolk.

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

Literature:
One of the most important globe making firms of the early 19th. Century. Founded by John Cary (1755-1835), an
engraver and map seller. In 1770, he was apprenticed to William Palmer and made a freeman in 1778. He started
his globe making business in 1791, when he advertised terrestrial and celestial globes varying in size from 3.5in.
to 21in. In making globes and plantaria, Cary worked with his brother William (1759-1825). His
main business was making musical instruments. Cary’s firm was located at 181 The Strand and in about 1820,
John moved to 86 St. James’s Street, leaving his location in the Strand to is two sons, George and John Cary Jr. who
also dealt in the globe making business.
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A GEORGE I PERIOD CARVED GESSO MIRROR
A George I period carved gesso mirror with a bold scallop shell to the top and finely etched and carved flowers
throughout. Retaining its original gilding.
Circa 1715

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A GEORGE III SATINWOOD SIDE CABINET
Kingwood crossbanded and ebony line-inlaid, the superstructure with an ormolu gallery and three graduated
open shelves above a mahogany and cedar-lined frieze drawer and concave shaped brass grilled doors enclosing
three adjustable shelves on short square tapering legs with brass caps and castors.
Circa 1790
Height 59 ¾ inches (152 cm)

Provenance:
New Hall Manor, Salisbury, Wiltshire.
A private collection at High Hall, Dorset.
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A PAIR OF REGENCY TUB ARMCHAIRS
A pair of regency mahogany tub shaped armchairs with caned backs. With carved reeded front rails and standing
on sabre legs terminating with brass square box casters.
Circa 1820

Depth 21 ½ inches (54.61 cm)
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MID-EIGHTEENTH CENTURY MAHOGANY TRIPOD TABLE
A rare and small mid-eighteenth century mahogany tripod table with a pumpkin-shaped moulded edge top.
Having a bird-cage support and standing on a plain turned stem with cabriole legs ending with pad feet.
Circa 1760

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A GEORGE III ROSEWOOD AND PAINTED COMMODE
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A George III painted rosewood and satinwood inlaid demi-lune commode with a gilt metal moulding to the top
and painted with ivy leaves, garlands of flowers and classical urn and foliate motifs. The frieze with oval tablets
depicting Roman heads within gilt brass borders and having a drawer to the centre. The commode with the
majority of its original paintwork . With twin cupboard doors to the front flanked by mock doors to the sides with
lattice decoration to the pillars and standing on tapered legs with inlaid flutes and spade feet.
Circa 1790
Height 35 ¼ inches (89.5 cm)

Width 40 ¾ inches (103.5 cm)
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A PAIR OF WILLIAM AND MARY PERIOD

JAPANNED CARD TABLES
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A fine and extremely rare pair of William

and Mary japanned cardtables, decorated
with scenes of chariots drawn by stags,
accompanied by riders on horseback,
foliage and trellis work, the tops opening
to reveal a later velvet lined interior with
similar japanned border to tops, above an
arcaded freize with a drawer at each end,
all raised in tapering octagonal legs the
front centre legs swing out to support top
when open.
Circa 1690

Depth 14 inches (35.5 cm)
These table are particularly rare because of

their unusually large proportion and with
their japanned decoration in mainly
originally state.
47
88 FULHAM ROAD
A GEORGE III OVAL CARVED GILTWOOD MIRROR
A George III oval carved giltwood mirror of rococo form with original gilding and plate.
Circa 1760

48
88 FULHAM ROAD
A GEORGE III PERIOD KETTLE STAND
A George III period kettle stand in richly figured mahogany having a moulded dish shaped circular top,
raised on a turned stem having a spiral knop. Standing on a tripod support with pad feet with unusual ‘ears’
to the sides.
Circa 1760

Diameter top 10 ½ inches (27 cm)
49
88 FULHAM ROAD
A GEORGE III CHIPPENDALE PERIOD

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

50
88 FULHAM ROAD
A REGENCY ROSEWOOD SECRETAIRE CABINET

IN THE MANNER OF ‘GILLOWS of LANCASTER’
Inlaid throughout with partridge-wood, boxwood and kingwood. The upper section having twin doors with
unusual brass glazing bars crossbanded with kingwood and opening to contain adjustable shelving. The lower
section with a secretaire drawer with original gilt-brass ornate ring handles opening to reveal a leather lined
writing surface with pigeon-holes and drawers. Flanked by twin columns each with boxwood line inlay and ending
in toupe feet. Throughout retaining a lovely colour and in excellent condition.
Circa 1810

Depth 19 ¼ inches (49 cm)
51
88 FULHAM ROAD
GEORGE III MAHOGANY DEMI-LUNE COMMODE
A George III mahogany demi-lune commode inlaid with tulipwood and partridge wood. The twin doors veneered
in richly figured mahogany and opening to reveal shelving and with matching end panels. Standing on original
swept bracket feet. Fine colour and condition.
Circa 1790

52
88 FULHAM ROAD
A PAIR OF GEORGE III GAINSBOROUGH ARMCHAIRS
A pair of George III Gainsborough armchairs in mahogany with carved scrolled arms and standing on carved
moulded front legs with reed-and-flute and bead-and-dart and foliate scrolls, and scrolled corner brackets, minor
variations.
Circa 1770

53
88 FULHAM ROAD
A GEORGE III MAHOGANY SERPENTINE COMMODE
54
88 FULHAM ROAD
A fine George III serpentine mahogany commode of unusual form and in the manner of Henry Hill, the top with
an inverted superstructure with two panelled doors opening to reveal an interior of pigeon holes and
small drawers, above a sliding top and with four graduated drawers below fitted with swan neck handles,
the commode raised on shaped legs.
Circa 1770
Literature:
The above commode with its serpentine corners and shaped apron relates to a distinctive group of commodes by
Henry Hill of Marlborough, illustrated in ‘The Lady Lever Art Gallery, Catalogue of Commodes’ by Lucy Wood,
see page 71, plate 56 and page 72, plates 57 and 58.

55
88 FULHAM ROAD
A REGENCY DRUM TOP TABLE
A Regency Drum Top table in mahogany with ebony inlay. The revolving leather lined top with four drawers and
four mock drawers to the frieze. Standing on a turned stem with four swept legs with central grooves and ending
with brass box casters. One drawer with a Norman Adams label.
Circa 1810

Height 30 ¼ inches (77 cm)
56
Back cover:
PAIR OF ADAM PERIOD OVAL MIRRORS
Provenance: ann and gordon getty collection.
height 75 inches (191 cm)

MichaeL hughes Peter LiPitch
email: info@michaelhughesantiques.co.uk email: antiques@peterlipitch.com
www.michaelhughesantiques.co.uk www.peterlipitch.com
88 Fulham road · London · sW3 6hr

telephone: +44 (0)20 7584 1120 · telephone: +44 (0)20 7589 0660

2014 Catalogue

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88 FULHAM ROAD

FINE ANTIQUE FURNITURE

DETAIL OF GEORGE III PAINTED COMMODE (PAGE 2)

Michael Hughes, Melvyn Lipitch

MichaeL hughes Peter LiPitch

88 Fulham road · London · sW3 6hr

A MAGNIFICENT REGENCY PERIOD SPECIMEN MARBLE

English, Circa 1820

Height 34 inches (86.5 cm)

FINE ADAM COMMODE ATTRIBUTED TO

Height 35 inches (89 cm)

A PAIR OF GEORGE III CARY GLOBES

Height 46 inches (117 cm)

A FINE GEORGE III MAHOGANY BOOKCASE CABINET

Height 8 ft. 2 inches (248.9 cm)

AN EXCEPTIONALLY RARE SET OF THREE 19TH CENTURY

An exceptionally rare set of three shell work floral ornaments consisting of

A GEORGE II WALNUT ARMCHAIR

Height 45 ½ inches (116 cm)

A CHIPPENDALE PERIOD PARTNERS DESK

Height 30 ¼ inches (77 cm)

AN EXCEPTIONAL PAIR OF GEORGE III

Width 36 inches (91.44 cm)

A PAIR OF GEORGE III FIGURED SATINWOOD

Height 34 inches (86 cm)

A PAIR OF GEORGE III MAHOGANY ARMCHAIRS

Height 36 inches (91 cm)

A GEORGE III MAHOGANY COMMODE IN THE

Height 33 ½ inches (85 cm)

A GEORGE 111 MAHOGANY AND INLAID IVORY CELLARET

An exceptionally rare if not unique George III

Height 22 ¼ inches (56.5 cm)

A FINE GEORGE II EAGLE CONSOLE TABLE

GEORGE III SATINWOOD DRESSING CHEST OF DRAWERS

Height 33 inches (83.82 cm)

A PAIR OF REGENCY GILTWOOD WALL-LIGHTS

Height 28 inches (71 cm)

A PAIR OF GEORGE III REGENCY PERIOD

A pair of George III Regency period painted and gilded

Height 35 inches (89 cm)

A PAIR OF REGENCY PERIOD ELBOW CHAIRS

A pair of George III Regency period black and gilt

Height 34 inches (87 cm)

A more elaborate mahogany chair but of similar form

A NEST OF qUARTETTO TABLES IN MAHOGANY

A nest of quartetto tables in mahogany, the

Height 30 inches (76 cm)

REGENCY MAHOGANY AND EBONY INLAID WINE COOLER

A regency mahogany and ebony

Height 21 inches (53.5 cm)

PAIR OF ‘WELLINGTON’ CHESTS OF DRAWERS

A) Height 56 ½ inches (144 cm) B) Height 57 ½ inches (146 cm)

A NINETEENTH CENTURY BRASS HALL LANTERN

Height 33 inches (84 cm)

A GEORGE III MAHOGANY SERPENTINE SHAPED SIDE CABINET

Height 33 ½ inches (85 cm)

A SET OF EIGHT GEORGE III HEPPLEWHITE

Six chairs of same form and one pair with differences.

Height 33 ½ inches (85 cm)

AN IRISH GEORGE II CARVED GILTWOOD MIRROR

Height 54 inches (137 cm)

A PAIR OF GEORGE III SHERATON PERIOD CARD TABLES

Height 29 inches (74 cm)