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A Fine Walnut and Marquetry William IV Center Table/Breakfast Table, 2nd Quarter 19th century, English, after a design by Richard Bridgens
This is an important and sophisticated example of the finest Classical style in the late 2nd quarter of the 19th Century. This is where marquetry is now being introduced in a European baroque fashion. In America, the last period wherein contrasting inalys were applied was during the early 19th century by artistens such as Thomas Seymour in Boston, with the use of grand eagle inlays and paterae bordered by stringed inlay along edges (see inlay work on our Federal tambour desk here ). ...
A Fine and Rare Pair of Chippendale Mahogany Parcel Gilt Mirrors with Scrolled Pediment Centering a Phoenix, New York, c.1775
This is the finest form of the Chippendale swan’s neck (or scrolled) mirror. This is not a matched pair, but a true pair, as each of the Phoenix birds face each other when hung and make a dramatic statement together. Note the swan’s neck carving, with the leafage embellishments. Also, the carved scrollwork flanking the mirrored glass. It is the best and worthy of, for example, the Diplomatic Reception Rooms, etc. This came out of a fine New York Collection.
A Mahogany Stick Barometer with Herringbone Mahogany Inlay with Pedimented Top, and Temperature/Mercury on Silver Plated Face, Labeled “F. Baserg & Co.” England, c.1800
The temperature tube is operational, however, the mercury tube is not filled. We find these excellent for decorative purposes for small vertical spaces, and in that regard, this is a fine example with all its parts.
A Chippendale Style Carved Mahogany Block and Shell Kneehole Desk, c.1890
While non-period furniture is something we rarely, if ever, offer, this kneehole desk is an exception. It is hand made and, quality-wise, is as fine as a period example. Note the magnificent shell on the tombstone door. The claw and ball feet are fully developed with beautiful shells. The mahogany is quite heavy and the best. It is unusual with the second row of top drawers that give it a height closer to a bureau.
A Large Fine Carved Mahogany Chippendale Armchair, Irish, c.1780
This chair is among the finest Chippendale chairs available. It is are a carved masterpiece with large-scale fully commodious seats and the added embellishment of a serpentine shaped seat rail, further enhanced with brass tacks. If you study the splat detail image with a high resolution device, you will see the intricacy of the carving that is created out of the solid block of mahogany. For those who appreciate surface, look again at where the hand has used the piece. All rests on...
An Important Federal Mahogany Inlaid Tall Clock, with Original Works by Aaron Willard, Jr. Boston, Charleston, Massachusetts, c.1810
Bird’s eye maple and satinwood inlaid case attributed to John or Thomas Seymour Provenance: Trinity Church, Boston Note: The attached letter from Kirtland Crump was written upon his examination of this clock. Height:103 in. Width:19 in.
A Mahogany Chippendale Tall Case Clock with Block / Shell and Silvered Dial, by Caleb Wheaten, Providence/Newport, c.1785
Referenced: Yale University Art Gallery, Rhode Island Furniture Archive #RIF5835 Newport/Providence produced some of the most desirable tall case clocks in the Colonies, hallmarked by their stylistic block and beautifully carved shell. This clock is especially desirable because of the engraved silver dial worked by Caleb Wheaton, a famous clockmaker of that period. Most dials were purchased outside the shop, however Wheaton was also an engraver and here he engraves his famous...
Mahogany Chippendale Tall Case Clock with a Dial Signed by Samuel Rockwell, Attributed to the Goddard Townsend Family, Providence, RI, 1760-70
Referenced: Yale University Art Gallery, Rhode Island Furniture Archive #RIF5836 Height: 95”
The Tilden-Thurber Clock
Exhibited: The Main Gallery of Tilden-Thurber, Co. Building, 1895 Height: 98 1/2in. Width: (at feet) 30in.
Giltwood Clock with Monumental Carved Eagle and Painted Swag, European
Height: 31 in.
American Wall Clock, Alexander Megary, New York, circa 1825
A Fine and Rare Carved Mahogany Wall Clock, Engraved “Alexander Megarey / New York” on Dial, c.1825 Length:46 in. Width: 17 in. Depth: 8in.
A Walter Durfee Girandole Clock with Reverse Painting Signed “D.J. Steele”
Illustrated: Burt, Owen H.: Walter H. Durfee and His Curtis Girandole Clocks , The NAWCC Watch & Clock Bulletin , Feb. 2011, p.8 (See scanned pages below.) Referenced: Yale University Art Gallery Rhode Island Furniture Archive #RIF3407 Height: 45 in.
A Walter Durfee Banjo Clock
The reverse painting of this clock is signed "D.J. Steele" in the sea. Out Durfee Girandole is similarly signed at the base of the throat glass. D.J. Steele was a well-respected Boston artist of Durfee's time, considered to be the best artist doing this kind of work. Height: 40 in. Length: 10 in. Depth: 4 in.
A Mahogany Lyre Timepiece by Sawin & Dyer, Boston, c. 1825 - 1828 with Eight Day Brass Weight-Powered Timepiece Movement
Identification by Kirtland crump conjects that the tablet is an original period one that had putty added to the frames many years ago. The dial has an outstanding signature and is correct to this piece. Signed lyre clocks are rare and this is a fine example. Height: 38 1/2 in.
A Rare Mahogany Lyre Timepiece by John Sawin, Boston, c.1829
Eight-day brass weight powered timepiece movement with outstanding original tablets and nice old finish. Minor imperfections. John Sawin was apprenticed to Aaron Willard, Jr. and was frequently employed by Simon Willard, Jr. He worked alone at 33 Cornhill in Boston from 1829-1863. Height: 43 in.
A Rosewood Maritime (nautical) Barometer, Kline & Co. New York, c.1840
Height: 38 in.
A Very Fine Carved Mahogany Bedstead with Original Shaped Tiger Maple Double Tombstone Headboard, Attributed to Samuel Field McIntire, Salem, Massachusetts, c.1819
Height: 85 in. Length: 80 in.
A Rare Mahogany Shelf Clock with Lyre form Bird's Eye Maple Panel, Attributed to John Sawin & John Seymour Boston, 1829
Movement attributed to John Sawin. Case Attributed to John & Thomas Seymour or Circle. Provenance: Collection of Mark Shanaberger Illustrated: Distin & Bishop, American Clocks, p.124 Please see the three following images: A study of our clock by Kirtland H. ...
A Miniature Banjo Clock with Eagle Finial, American. Retailed by Tilden-Thurber, Co.
Height: 21 in.
A Presentation Gilt and Rope Patent Timepiece (Banjo), Concord, Labeled "Curtis & Dunning," Massachusetts, c.1815
Provenance: Kirtland H. Crump Shown below is an identification and appraisal of this clock by Kirtland H. Crump. This clock retains its original paper iron dial labeled by Curtis & Dunning Height: 38 in.
A Fine Inlaid Mahogany Dwarf Clock, probably Rhode Island, last quarter, 19th century
The movement is stamped “A.D. Wilson / Prov, R.I.” who worked (1874-1927, see attached). He probably made this for Walter Durfee, who made the best time pieces at that time. An engraved panel inside the door indicates ownership through two Providence banks (see attached), and the painting on the dial is probably a Newport coastal scene. The craftsmanship of the case is superb. The variegated inlay offsets the mahogany case, which is of the solid. The modeling is very close...
A Tiger Maple Daybed, New England, c.1830
Originally, this was a much wider bed, ...
A Mahogany Classical Carved Footstool with Eagle Heads, probably New York, c. 1820
This small scale foot stool is elaborately developed around a theme that is illustrated in American Antique Furniture , Edgar Miller, Jr., illustration 1706. This example, however, is highly embellished with bold rosettes, all of which terminate with inwardly curved, scrolled feet. Height: 17 in. Width: 17 in.
A Classical Mahogany Box Sofa with Gilt Capitals and Butterfly Rosettes, Attributed to Duncan Phyfe, New York, c.1830
This sofa is related to a box sofa of the same form made for the home of ...
A Mahogany Classical Sofa with Fully Carved Crest Tablets and Lion’s Masks, New York City, Attributed to Duncan Phyfe or Circle, c.1820
Height: 35 ½ in. Width: 75 in.
A Monumental Mahogany Recamier with Dolphins and Eagles, c.1820
The recamier is essentially a French-Empire form of Grecian couch, popularized ...
A Fine Highly Carved Mahogany Classical Daybed, Boston, Massachusetts, c.1820 Provenance: Hirschl & Adler Galleries
The shaped headrest with rolled crest and flanking cornucopiae, over a rectangular frame with bowed footrest with rope-carved decoration and applied anthemia. Height: 33 in. Depth: 22 in. Length: 86 in.
A Classical Mahogany Sofa with Eagles and Serpents, New York or Philadelphia, c.1810
This sofa has finely carved eagles which relate ...
A Classical Carved Mahogany Recamier with Carved Drapery Tablet and Central Rosette, New York, c. 1805, Duncan Phyfe workshop
This recamier is in pristine condition, see images ...
A Very Fine Mahogany Sheraton Sofa with Large Carved Crest Tablets, New York City, c.1800, Attributed to the Duncan Phyfe Workshop
Exhibited: Metropolitan Museum of Art (1923) Illustrated: Lockwood, Luke Vincent. Colonial Furniture in America , vol. II, fig. 660 Provenance: R.T. Haines Halsey, Francis P. Garvan, Bernard & S. Dean Levy This important crest rail is composed of three large ...
A Federal Satinwood-Inlaid Carved Mahogany Sofa, attributed to Seymour, MA, c.1800
A Federal Satinwood-Inlaid Carved Mahogany Sofa, attributed to Seymour, MA, c.1800
A Classical Carved Mahogany Settee with Lyres, New York, c.1810, Phyfe or contemporary
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A Mahogany Hepplewhite Sofa with Pierced Splats and a Unique Inlaid Crest Rail Patera, Southern, Probably Baltimore, c. 1800
Illustrated: Nutting, Wallace: Furniture Treasury , Plate no. 1675. Height: 36 in. Length: 74 in.
A Queen Anne Mahogany Tray Top Tea Table with Slipper Feet, Attributed to the Goddard/Townsend School, Newport, RI, c. 1760
Although many colonial cities produced their versions of the Queen Anne ...
An Assembled Pair of Diminutive Mahogany Footstools with reeded legs, New York, c.1815-30
One stool appears period, the other probably made sometime after, as it appears to have had less wear. They have historic horsehair fabric. Height: 8 in. Width: 13 in.
A Very Fine Mahogany Classical Sofa with Turned in Arms, Duncan Phyfe, New York, c.1810
There are many iterations of this sofa, and this is the very best of its type. The carving on the crest is as complex as it gets and carved to absolute perfection. The arm supports are beautifully defined with reeding almost vanishing to the top of the arm, and finished as if it were jewelry. Note the top of each of the reeded legs with the compressed serrated donut; this feature, although seemingly small is one of the nuances that makes for “the best of the form”. In his book, ...
A Fine Lyre Back Music Stool, attributed to Duncan Phyfe, New York, c.1810
Height: 32 1/2 in. Width: 20 in. Depth: 15 3/4 in.
A Diminutive Windsor Stool Fully Turned, Original Seat and Fabric, New England, c.1800
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A Queen Anne Commode w/ Cabriole Legs, Maple, with Chestnut Secondary, First Surface, probably Rhode Island, c.1740-1760
Found locally in Rhode Island, It is rare to find a complete potty stool of this period in original first surface. The secondary chestnut is secured to the case with original rosehead nails. While this stool served a utilitarian function, its form with shaped apron and feet give this compact form a strong pleasing visual image, and, in its own right, a notable form. Referenced: Yale University Art Gallery Rhode Island Furniture Archive #RIF4316 Height: 19 in. Width: 18 ½ in.
A Diminutive Hepplewhite Sofa/Window Seat, New England, c.1800-1810, Provenance: MFA, Boston
This elegant sofa, which is great for use at the end of a bed, is illustrated in Richard Randall, American Furniture in the Museum of Fine Arts Boston , cat.no.193. (see scan below). Length: 34 1/4 in.
A Monumental Classical Carved Mahogany Sofa, Philadelphia, probably Anthony Quervelle, c.1820
Height: 42 3/4 in. Length: 95 3/4 in.
An Exuberantly Carved Mahogany Classical Sofa, Salem, c.1815-1825 Attributed to Samuel McIntire Circle
We have handled perhaps a half dozen of these models and in the three we can illustrate, one can see stylistically, the arch of the back is rather flat, in comparison to the other two. Also, note the development in the panels above the front legs, and compare the other models. Also, the treatment in the panel at the base of the sofa. See also: A related Sofa, in the Stanley Weiss Collection ( sw01135 ) A related Sofa, with Chinese Chippendale Feet ( sw00817 ) - Now Sold. So, if...
A Pair of Classical Lyre-Back Mahogany Side Chairs with Paw Feet, Phyfe school, New York, c. 1810
Illustrated: A nearly identical chair to this pair (but with applied ...
A Sheraton-Federal Mahogany Wing Chair, New York, c. 1800, attributed to Duncan Phyfe workshop
This example has a profound serpentine-shaped crest rail with ...
Chippendale Camelback Sofa, Philadelphia, dated 1786, ex. Gen. Henry S. Champion
The important and fine General Henry ...
A Pair of Carved Mahogany Classical Armchairs, New York, c.1820
Each with canted crest with figured mahogany tablet above rounded arms with scroll and leaf-carved supports, over a bowed base raised on shaped feet. A similar pair of Classical Armchairs sold at Sotheby's in 1985. Height: 41 in. Width: 25 in.
A Pair of Mahogany Lyre-Back Side Chairs with Sabre Legs, Slip Seats, and Brass-Strung Lyres, Philadelphia, c. 1815
Provenance: David Dunton Advertised: Antique & Fine Art magazine, Summer 2008 Height: 31 1/2 in.
A Classical Mahogany Carved Armchair attributed to Thomas Seymour, Boston, c. 1810
Illustrated: Mussey, Robert D., The Furniture Masterworks of John & Thomas Seymour . cat. no. 129 Height: 33 1/2 in. Width: 21 1/2 in.