Late George III Revolving Mahogany Drum Table Attributed to Gillows

A very attractive antique late Regency giltwood centre table attributed to Gillow of Lancaster and London, inset with an Italian Pietra Dura top, The central turned baluster supp...

A large late Regency mahogany partner’s library table attributed to Gillows, the leather inset rectangular top above six frieze drawers, the frieze cross banded, raised on powerful ...

A Regency rectangular rosewood tilt-top table attributed to Gillows, the rectangular top with bookmatched veneers set upon a shaped and reeded support with four splayed hip legs, Eng...

The circular tilt top has a central field of book-matched, figured rosewood within a broad band of cut brass inlay. The edge is boldly carved with an acanthus and dart border. The central support is hexagonal in section with a broad central flange, raised on three powerful and ornately carved legs. The knees are presented as bold acanthus carved and gadrooned volutes. The lions’ paw feet have clearly defined knuckles and claws and enclose the original brass castors. English, circa 1825. See also S. Stuart, Gillows of Lancaster and London 1730-1840, Antique Collectors’ Club, Woodbridge, 2008, Vol II, pl. E.5, which shows a pattern for this table in a drawing room layout designed for G.Bamford about 1820-30. The drawing also shows a pair of bergères and a sofa which correspond to a suite supplied by Gillow & Co. in 1824 to Thomas Wynn...

An early Victorian Goncalo Alves card table attributed to Gillows, the hinged rectangular top with bead and reel edging, the green baize (replaced) interior within quarter veneered corners, the turned, knopped end supports gadrooned and set upon two feet with lion’s paw feet and disguised castors. English, circa 1850. For a pair of very similar Goncalo Alves card tables belonging to Miss K...

Each cistern is in the form of a fluted vase on a rectangular pedestal. The lead-lined vases have brass handles, removable lids with pineapple finials and taps. The crossbanded pedestals have cupboard doors enclosing slatted shelves for warming plates in one and a lead-lined slops drawers, a tambour fronted shelf and a cellaret in the other. Susan Stuart, 'Gillow of Lancaster and London', 2008 vol 1 p308-315 illustrates many pedestal urns including the drawings for Workington Hall, Cumbria, dated 1788. PLates 342 and 343 show pedestals with a similar arrangement of shelves and drawers. Thomas Sheraton explained the functions of dining room pedestals in his 'Drawing Book' of 1793: 'IN spacious dining rooms the sideboards are often made without drawers of any sort, having simply a rail, a little ornament...

A George III period figured mahogany circular revolving Drum Table, having gold tooled faded green leather top above 4 real & 4 dummy boxwood stru...

Early 19th century George III revolving mahogany drum table with inset green leather top, kings-wood cross-banding, string inlay, four working drawers, column base with four splayed ...

A stunning early 19th century English Regency Pollard Oak drum /centre table Attributed to Gillows Of Lancaster & London. The circular top, inset with a gilt tooled leather writing s...

Finely made with a wonderful burl veneer top of serpentine shape raised on cluster column legs headed by blind fretwork and fretwork spandrels. The ...

Constructed in a finely figured goncalo alves; the end supports having square uprights, each enclosing three tapering and turned ‘triple spindles’, with ‘running pearl’ adornments, a...

A Very Fine George IV Parcel-Gilt Amboyna Centre Table Attributed to Thomas & George Seddon. English, Circa 1830. The table is of finely figured Amboyna with a circular tilt-top above a triform column with parcel-gilt scrolled supports. It is raised on a conforming plinth base with foliate carved feet and concealed castors. George Seddon was the eighth child of John Seddon of Blakelea, Lancashire. His father apprenticed him to George Clemaphon of Cripplegate to learn cabinet making. He became a master cabinet maker. (He was Master of the Joiner’s Company in 1795). In the early 1750s he was sufficiently successful to acquire London House, Aldersgate Street. It consisted of extensive workshops, where furniture was made, and showrooms to display the finished products. London House had formerly been a palace of the Bishops of London. The panelled state-rooms were ideal for the display of fashionable furniture; and the chapel and library made convenient workshops. When Seddon married, he converted the garden house and infirmary into the family home. Seddon was the biggest furniture maker of his time. His furniture store covered a two acre site in Aldersgate Street. His workshop there was described by London visitor Sophie v. La Roche in 1786: "We drove first to Mr. Seddon's, a cabinet-maker,...He employs four hundred apprentices on any work connected with the making of household furniture—joiners, carvers, gilders...