Important Eighteenth Century English Furniture
Harry Apter, Guy Apter
B.A.D.A. (The British Antique Dealers Association)
For 5 generations Apter - Fredericks have been acquiring some of the finest pieces of 18th English Furniture. From Queen Anne to Regency, the period when English craftmanship was at its height. Our spacious showrooms in the Fulham Road are the best place to start your search. A large dining table with seating for twenty or a breakfront bookcase can all be viewed in comfort. each piece is displayed with the respect it deserves.
A George II Carved
An exceptionally well-drawn mirror with superbly carved decoration combining 'C' scrolls, cabochons, shells and foliage in a flowing design that has the inner frame linking with the outer frame in such a way as to lead the eye around the mirror. The carving is confidently handled and has such depth as to lend the mirror a truly three dimensional feel.
English Circa 1755
Width 36" 91cm
Height 71 ¾ " 182cm
A George III Adam Period Cut Glass
12 Light Chandelier
The multi baluster shaped shaft centred by a flute and diamond cut urn which is surmounted by a drop hung scalloped edged canopy. The two tiers of hexagonally slice cut candle arms each with rounded scalloped-edged drip- pans and candle nozzles. These with ormolu save-alls. The candle arms issuing from a ormolu lined cut glass receiver bowl which is surmounted by a drop hung canopy and a pinecone finial. The chandelier, which is attributed to William Parker, is draped with pear shaped chain and finial drops and is of the finest quality.
English Circa 1780
Diameter 39" 99cm
Height 60" 152.5cm
A George II Carved Mahogany
This is a particularly rare wing chair which, importantly also happens to be an outstanding example. The rarity of the chair is in the choice of mahogany rather than the more common walnut examples of this period. Outstanding, well primarily this is down to shape and proportion. The shape and carving of the front legs, the splay of the back legs and the profile of the wings are perfect. The depth, height and the width of the chair are in perfect proportion ensuring the seat and back are generous and allow one to sit comfortably.
The chair is upholstered in fine needlework of the same period as the chair. Antique needlework has become, like the furniture, increasingly difficult to find, pieces large enough to cover a wing chair are exceptional.
English Circa 1730
An Important Regency Side Cabinet Attributed to
William Marsh to Designs by Henry Holland
The design of this commode represents a combination of two models used in the furnishing of Mrs Whitbread’s Drawing Room at Southill Park, Bedfordshire, the masterpiece of the Regency architect Henry Holland. Between the windows was placed a rectangular pier commode of almost identical design to the central section of this piece (but with a solid front and with doors in the ends). Opposite the windows and flanking the fireplace stood a pair of shelved chiffoniers, with round-cornered open ends and a shallow shelved superstructure. The round-cornered form, in the height of French fashion, is repeated in the present example. The Southill pieces also have feet of the same distinctive faceted tapered form, the same highly figured rosewood veneer, and details in dark red japanning set off by gilding, as on the present commode.
The Southill pieces were most probably supplied by William Marsh, cabinet-maker to the Prince of Wales, who also collaborated with Holland at the Prince’s miniature palace Carlton House. Marsh was named as the maker of much of the furniture at Southill by a visitor to the house in 1800. Marsh also collaborated with Henry Holland in the furnishing of Carlton House for the Prince of Wales, and with his partner Thomas Tatham he continued to work for the Prince after his succession as George IV
Another closely related commode, from Headfort in Ireland, has the same highly distinctive large brass patera on the front, framed with wide rosewood bandings and shaped recessed panels, and is fitted with a brass and marble gallery on top. This piece has divided front doors as on the present example but is of rectangular form like the single commode at Southill – thus forming a further link between this furniture and reinforcing the attribution of the whole group to the same workshop, almost certainly that of William Marsh.
An Important George II Mahogany Bookcase From Langley Park, Norfolk
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