Howgego Historic & Modern

This characterful table is of rare narrow depth of 39cm. It is characteristic of Spanish Baroque furniture with a thick single piece top, simple bold chip carved ornament and bold turnings. It has a rich lustrous patina. The thick single plank walnut top with fine figuring. The front fitted with two short drawers decorated with chip carving...

Painted cloths were fashionable wall-hangings in the 17th century as they much cheaper than tapestries and woven textiles. Very few survive from this per...

John Ogilby (British 1600-1676) cosmographer and geographick printer to Charles II. A road map from Britannia, 1675/6. No 5, The road from London to Barwick: London to Stilton In a grey painted and gilded frame. In a remarkable life John Ogilby pursued, several careers, each ending in misfortune, and yet he always emerged undeterred, to carry on. His modern reputation is based on his final career, started in his sixty-sixth year, as a publisher of maps and geographical accounts. Ogilby was born outside Dundee, in 1600, the son of a Scottish gentleman. While he was still a child, the family moved to London. When the elder Ogilby was imprisoned for debt, the young John invested his savings in a lottery, won a minor prize, and settled his father's debts. Unfortunately, not enough money was left to secure John a good apprenticeship; instead, he was apprenticed to a dance master. Ogilby was soon dancing in masques at court but, one day, while executing a particularly ambitious leap, he landed badly. The accident left him with a permanent limp, and ended his dancing career. However, he had come to the attention of Thomas Wentworth, later Earl of Strafford, Charles I's most senior minister. Ever one to exploit his contacts, Ogilby became a dance instructor in Strafford's household. When Strafford was sent to Ireland, Ogilby accompanied him as Deputy-Master of the Kings Revels, and then Master of Revels. In Dublin, he built the New Theatre, in St. Werburgh Street, which prospered at first, but the Irish Rebellion, in 1641, cost Ogilby his fortune, which he estimated at £2,000, and almost his life. After brief service as a soldier, he returned to England, survived shipwreck on the way, and arrived back penniless. On his return, Ogilby turned his attention to the Latin classics, as a translator and publisher. His first faltering attempt, in 1649, was a translation of the works of Virgil, but after his marriage to a wealthy widow the same year, his publishing activities received a considerable boost. One means by which Ogilby financed these volumes was by subscription, securing advance payments from his patrons, in return for including their name and coats-of-arms on the plates of illustrations. Another approach was to secure a patron, preferably in the court circle. Ogilby's first patron was Strafford, who found out too late that all leading ministers are dispensable when Charles I assented to his execution in 1641. As he re-established himself, Ogilby sought a new patron, the King himself. In 1661, Ogilby was approached to write poetry for Charles II's coronation procession; he later published 'The Relation of His Majesties Entertainment Passing Through the City of London', and a much enlarged edition the following year, which included a Fine set of plates depicting the procession. Royal favour was bestowed in 1674 when John Ogilby received the title of 'His Majesty's Cosmographer and Geographick Printer' with a salary of £13.6s.8d per annum. In 1665, Ogilby left London to avoid the Plague then ravaging the capital. The following year, in the Great Fire of London, Ogilby claimed that he lost his entire stock of books valued at some £3,000, as well as his shop and house, leaving him worth just £5. As he sought to restore his fortunes, Ogilby was already looking in new directions. The initial opportunity he seized on was the reconstruction of London's burnt-out centre. He secured appointment as a "sworn viewer", whose duty was to establish the property boundaries as they existed before the Fire. Ogilby was assisted in the project by his step-grandson, William Morgan, and by a number of professional surveyors. The result was an outstanding plan of London, on a scale of 100 feet to an inch, on 20 sheets, although it was not printed until after Ogilby's death. Ogilby then turned his attention to publishing geographical descriptions of the wider-world. In 1667, he issued 'An Embassy from the East India Company of the United Provinces to the Grand Tartar Cham, Emperor of China.' Buoyed by the response to this volume, Ogilby conceived an ambitious project, a multi-volume description of the world. The volumes were joint collaborations, in conjunction with the Dutch publisher Jacob van Meurs. 'Africa', published in 1670, was the least original of the three, both in terms of the text, maps and illustrations. In a similar vein, he issued the 'Atlas Japannensis' (1670), the 'Atlas Chinensis' (1671), and 'Asia' (1673). In 1671, Ogilby published the 'America', translated from Arnold Montanus' Dutch text. The 'America' is certainly the most original, and most important, of Ogilby's various geographical volumes, and its influence and popularity was immediate. With its completion, Ogilby turned to a project nearer his heart, the description of Britain. Ogilby originally intended to devote one volume to Britain, but as the project evolved, he became more ambitious, as revealed in a prospectus issued in about 1672: "This having oblig'd our Author to take new Measures ... to compleat within the space of two Years a Work ... considering the Actual survey of the Kingdom, the Delineation and Dimensuration of the Roads, the Prospects and Ground plots of Cities, with other Ornamentals ... into six fair volumes. The Four first comprehending the historical and geographical description of England, with the County-Maps truly and actually survey'd. ... The fifth containing an Ichnographical and Historical Description of all the Principal Road-ways in England and Wales, in two hundred copper sculptures, after a new and exquisite method. The sixth containing a New and Accurate Description of the famous City of London, with the perfect Ichnography thereof ..." In the proposals, Ogilby emphasised the scale of the undertaking; no-one before him had attempted such a vast project. He estimated the total costs would be £20,000, a staggering amount. The cost of the complete set of six volumes was to be £34. At that time, Wenceslas Hollar...

Flemish scenes of activity on the river with sailing barges, fishermen and cranes. Within flowerhead borders, second half of the 18th century. In a modern giltwood frame with the rem...

Brass handle, bone handle, brush.

This was adapted from the silver chandelier hanging at Knole in Kent, exclusively for use in a conservation project at Hampton Court. It has an antique, silver plated finish. There i...

This historically-accurate fitting was recreated exclusively for the conservation project at Queen’s House Greenwich in the early 1990s. It has a polished, silver plate finish. It ha...

The top fitted with a removable gallery with fine brass filigree depicting lion heads and crowns amongst trailing stems. The mahogany, fall-front fitted with a later writing slope, a...

The polished brass acanthus leaf corona supports six rectangular split link chains holding a black painted bowl with an ormolu pendant. The five polished brass double candle...

The rope twist handle above an acanthus leaf stem terminating in the form of a bell.  

The pillows or cushions are made from late 19th century crimson velvet. This has been applied with 19th century needlework panels. The needlework has a cream ground embroidered with ...

The inside centre decorated with the inscription, “Great Yarmouth 1744”, surrounding the blazon of the arms of the town (three lions passant guardant in...

Lovely cassone with classical form, the beautiful figuring of the oak creates subtle, decorative patterning and the simple mouldings give a light, contemporary feel. The rich, lustr...

The countye of Monmouth with the situation of the townshire described Anno, 1610 The reverse with Monmouthshire, Chapter VI and an alphabetical list of towns. In a beautiful Flemish oak polished and gilded frame Cartographer: John Speed...

Cartouche-shaped with a lady standing beside a fence on a terrace amongst blossom sprays and peonies with an acrobatic bird and insect flying overhead. The border in moulded relief w...

Lovely, carved detailing the the edge of the top and rococo scrollwork stem and feet which incorporate shell detailing inside the scrolls This table is crisply carved with characteristic grotto ornamentation creating the form with the scrollwork stem and legs carved with shell and other motifs. The top has an unusual 4cm carved acanthus leaf edge. The use of oak shows that, unlike much grotto furniture...

The straight, padded back re-upholstered in a modern linen to give a contemporary aesthetic. Originally with red velvet and embellished with 18th century, braid, fringe and tasse...

This panel is beautifully carved and has developed a lustrous patina over time.

Laurence Edwards A.R.B.S. (B. 1967): Hare carcass table sculpture, modelled from observational studies Bronze, united with 1 ¼ in thick, 17th century Spanish fruitwood top. This t...

Few coach panels survive. This is a striking example with the double headed eagle, gilded armorial and burgundy background. The closest I can find to ar...

Serpentine-shaped ottoman, mid-19th century, English, Victorian, with mahogany skirt and feet and upholstered in burgundy leather This handsome ottoman is really practical offering ...

This pelmet is exceptionally long. The Brussels tapestry is finely woven with fruits and trailing stems and the colours are not faded. It works as a hanging in its own right, but could also be adapted as a curtain or bed pelmet...

The back and seat fully upholstered in a fawn colored mink. Standing on turned ebonised front legs with brass cappings and tapering ebonised back legs. Measures: Width 51 cm, 20 ...

An 18th century, oak top with slate inset united with a contemporary, Spanish influenced, low, iron base This table is very striking and an ideal height to be used as an occasiona...

This striking chest is made from a Brazilian hardwood which I have not been able to identify. The color and figuring of the timber together with the Classic form and ornamentation su...

Pairs of hunting trophy armchairs are exceptionally rare. This pair are also unusual because they are made from a few large antlers giving them a minimalist quality. The fluid form of the antlers creates a sculptural, organic aesthetic. They are also usable and very comfortable. It has taken great skill to make these chairs, selecting massive antlers to create exquisite form and stability within a minimalistic, sculptural aesthetic. They are dramatic and unusual injecting a naturalistic and organic gravitas to any interior which reflects the grace, agility and presence of the kings of forest that they came from. The impressive crestings, sides and front stretchers on each armchair are made from five magnificent fallow deer antlers. The arms and supports on each chair are made from eight massive red deer antlers. The antlers are arranged creatively to create both, a stable structure and sculptural form. The seats are upholstered in wild boar hide. Dimensions: Width 91cm., 35.83in., Height 132cm., 51.97in., Depth 96cm., 37.80in. Museums With Collections Of Antler Furniture • Victoria & Albert Museum, London • Museum casle trautenfels, Trautenfels – Austria • Museum of natural history, Venice • Palace Museum, Beijing “There is grace and movement in the antler itself. They’re one of the most beautiful forms in nature…” Gail Flynn Hunting trophies have been used as source material for clothes hooks, storage racks and lamps since the 15th century. Mounting antlers and stuffed heads on walls provided impressive, decorative displays for hunting trophies. A hunting lodge replete with antlers and stuffed animals was most likely where ideas for antler furnishings emerged. At the beginning of the 19th century antler furniture was made exclusively for the European nobility to decorate palaces, castles and country seats. The furniture was either made completely from stag antler, or it was decorated with antler pieces from the stag, deer, fallow deer and others, or veneered with sliced antler pieces to create a hunting design. The first recorded antler furniture dates from 1825, made for a hunting castle of Count William of Nassau near Wiesbaden, Germany. Other famous collections of historical antler furniture are the hunting room in the country estate of the brandhof of Archduke Johann of Austria or the antler collection of Count Arco in his palace in Munich, Germany. There are hundreds of drawings of creative antler decorations by the Austrian furniture maker Joseph Danhauser (1780-1829). In 1851, chairs, chests of drawers and a sofa made of horns were exhibited at the Great Exhibition Of The Industries Of All Nations in London which were considered one of the great novelties of this iconic exhibition. This created a new lifestyle trend and fashion driven by the ambitious European middle-class and antler furniture disseminated into bourgeoisie households. One of the first designers is the German ivory carver and furniture maker H. F. C. Rampendahl who gained enthusiastic successes on several world exhibitions with his antler furniture. An antler bureau, a horn seating group or individual chairs, decorated gun cabinets, H.F.C. Rampendahl created a whole new design world for fashioning rooms. This prompted other designers in Germany Austria and USA to make antler furniture H.F.C. Rampendahl, Hamburg, P. Keutner, Regensburg, Vitus Madel & Son, Ichenhausen, Kurt Schicker, Regensburg, Heinrich Keitel, Vienna, Rudolf Brix...

A painted steel, console table with a shaped frieze inspired by a 17th century, Flemish cabinet. Standing on turned legs joined by an ‘H’ stretcher with a bronze, sculpted lion on on...

The tapering back and rectangular seat re-upholstered in a Missoni fabric. Characteristic boldly turned legs and blocks, the back legs straight. Good colour and patina. Back hei...

I have never seen a desk like this before, it is really quirky, a great conversation piece. Tan leather top with gold leaf embossed tooling surrounded by crossbanding. The frieze wi...

This vernacular chest exudes character and charm. The moulded panels and inlay inject gravitas. It has a lovely mellow lustrous patina. It is unusual being large and providing a copi...

The headboard is surmounted with a carved cresting and turned finials at each end, and the frame painted with scrollwork. The centre of the headboard has a cartouche containing a pai...

This handsome cassone has ornament with romantic associations and was most likely a marriage chest. It is a good example of the Italian vernacular, simple in a sophisticated manner. ...

This lamp is in the spirit of Diego Giacometti who used a stylised tree motif as stand-alone sculpture and also as sculpture to embellish his bronze furniture. A pair of these tree s...

Single plank tops, lovely shaped ends on trestle feet. Exceptional original color and patina.   

One 85 cm + 10 cm pricket Other 89 cm high + 10 cm pricket Just purchased more information to follow.

Each with a damask pattern of scrolling foliage, peonies, tulips and fruit. Massive pattern repeat, see image. Original braid. Cleaned and conserved. Measures: Two height 315 cm., 124 in., width 107 cm., 42 in., One height 295 cm, 116 in., width 109.5 cm., 43 in., From the collection of the 1st Viscount Cowdray, Cowdray Park, Sussex, supplied by Lengyon & Co, circa 1910. Francis Lenyon, Lenyon & Co, Lenyon & Morant Born in England in 1877, Lenyon was trained as a cabinetmaker and studied at the South Kensington Museum in London. By 1900, he found work with Art Workshops, Ltd., and soon after with Charles Duveen, son of Sir Joseph Duveen. Employed by C.J. Charles for several years, Lenyon became well-known as cabinetmaker to England's aristocracy. He opened his own firm, Lenyon & Co., in 1904, and in 1912 merged with Morant & Co., to become Lenyon & Morant, holding royal warrants under four successive British kings. In 1910, Lenyon made his first visit to the United States to supervise the interior decoration of Whitlaw Reid, and soon opened a New York branch of his firm. As in England, Lenyon 's American clients were wealthy and sophisticated and relied on Lenyon to furnish authentic and reproduction interiors in period styles. In the 1930s, Lenyon was hired by Nelson Rockfeller to serve as a major consultant to the reconstruction of Colonial Williamsburg in Virginia, and selected all the furnishings for the Governor's Palace there. Lenyon was widely known for his expertise in 17th and 18th century British furniture...

This charming and unusual casket injects a romantic atmosphere into any interior. It has survived in impeccable condition with acceptable wear to the painted surface which signifies its age and use. It is a conversation piece, a piece of acting history, bought by Vivien Leigh and Laurence Olivier...

The design and ornamentation of this centre table is characteristic of Portuguese Baroque furniture dating from the second half of the 17t...

Incorporating 'Stones of Bath' into this settee is inspired the pipers use of one of the five designs commissioned for their centenary, ‘The Glyders’, as loose covers for the chairs at their home Fawley bottom which John Betjeman called ‘Fawley Bum’. 'Stones of Bath' is one of five John Piper (1903-1992) designs commissioned by Arthur Sanderson & Sons in 1959 for their 1960 centenary celebrations. In 1962 Sanderson's screen printed ‘Stones of Bath’ on their Sanderlin fabric, a satinised linen which gave the design a shimmering, restless texture. This was ideally suited to the play of light depicted on the stone in the architectural repeat of buildings in the city of Bath. A piece of this fabric which is in the collection of the V&A was exhibited at the John Piper retrospective held at the Tate Gallery, London, 1983. Reference: 'Artists’ Textiles in Britain 1945-1970', Cat. No. 74. From the late 1950s-early 1960s there was interest in painterly textiles that demonstrated the unique potential of screen printing, with its ability to capture the quality of brush-stroked color. 'The monumental grandeur of many artists' textiles in the early 1960s was necessary if they were to work in the large scale architectural interiors of the era which witnessed a rapid growth in new public buildings, all which required furnishing with suitably prestigious fabrics'. Artists' Textiles in Britain 1945-1970 by Geoffrey Rayner, Richard Chamberlain...

This elegant set of chairs relate to a set of twelve chairs and a settee from the collection of D. Joa~o V, King of Portugal. The parcel gilding gives...

MASSIVE 145CM, 57” LONG, VINTAGE, SPECIMEN MARBLE, TOP UNITED WITH AN IRON BASE IN THE MANNER OF MARCEL COARD Striking conversation piece with 143 marble...

Spanish writing desks of this period are the most distinctive pieces of Spanish furniture conceived as visual displays of incredible virtuosity. The characteristic decoration of the ...

This massive pair of 6-seat sofas were commissioned as part of Stanley J Seeger’s remodeling and grand redecoration of Sutton Place. They are upholstered ...

The quality of these exhuberant backstools demonstrate why Italian Renaissance furniture was as highly prized as old-master paintings. Th...

EDWARDIAN, 6-ARM, GILT-BRASS & GLASS CHANDELIER IN THE ROCOCO STYLE 17½ ” high The lightness, elegance, and an exuberant use of curving and floral ornamentation are characteristic ...

An exceptional, museum quality, English, baroque, walnut, open armchair with faceted legs and shaped ‘x’ stretcher, upholstered in fine Georgian needlework...

This elegant armchair exudes classic gravitas, with scroll arms, fall turnings and triple toe feet The tapestry back depicting Flora underneath a bower is a distinctive feature. It...

This is a fine vernacular piece with simple but bold ornamentation and a rich lustrous patina. The top with a moulded cornice. The front fitted with a single door with crisp moul...

The gilded, stylised scrolling foliage design is embossed into the grey leather enhancing the effect of the relief. The eighteen panels were pressed from moulding blocks which were m...

The metal pricket and drip-tray surmounding the baluster, ring and barley-twist turned stem which is supported by and elaborate acanthus-leaf and scroll carved base terminating in lion-paw feet. Excellent original color and patina. Provenance: Private Collection, purchased Derek Green...

- This table is the most original and superior example of a small surviving group of a rare, early model of gateleg table dating between 1620 and 1650. - It is more sophisticated t...

Fireback, cast iron, 17th century, English, bearing the initials W S.

Fireback, cast iron, dated 1685, initialled HVE twice.

This pair of open armchairs are characteristic of the Haute Époque employing elegant barley-twist turnings and sweeping, curved, scroll arms. The bargello is a re-creation of a fashi...

This open armchair is characteristic of the Haute Époque employing elegant barley-twist turnings and sweeping, curved, scroll arms. The bargello is a re-creation of a fashionable uph...

This charming small mirror has survived in extraordinary condition with its original gilding and mirror plate which is very unusual particularly for a piece made from a delicate medi...

This is an early 20th century interpretation of an armchair inspired by the infamous, sumptuously, upholstered, 17th century, couch with hinged arm rests, found at Knole Park, Sevenoaks, Kent, the ancestral seat of the Sackvilles made by the most eminent upholsterer of the early 20th century. The original couch served the dual purpose of bed and settee, and is one of the earliest examples of English, upholstered, seat furniture. This is a particularly fine example, with a Morant & Co provenance. A matching 3-settee is also available The inside and outside back, wings, seat and cushion are upholstered in green strie velvet and trimmed in the traditional manner with matching braid and fringe. The strie velvet could be original, if this armchair has been lightly used, as there is significant fading from the original bright green. The adjustable padded wings are joined to the arms with original ratched iron hinges which are attached to the back. The arms are supported by oak turned uprights. The seat has a large loose cushion. Standing on original castors. English, circa 1900. Bearing the fabric retail label of Morant & Co Upholsterers, Decorators. 91 New Bond St., London. with Royal Coat of Arms, dated 1825, 1831, 1837 & 1890, founded 1790. During the late 16th-early 17th century a new form of day-bed was introduced to match the contemporary upholstered ‘X’ chairs and stools. They were padded and upholstered throughout and the ends were let down on a toothed steel ratchet to enable the occupant to repose at full length. They were generally destroyed when the coverings had worn out at the woodwork was of little value. Similar couches were plentiful in France under Louis XIII and can be seen in Abraham Bosse’s engravings of domestic interiors but they were only found at Court and the houses of great noblemen in this country. When the contents of the Royal Palaces were dispersed after Charles I’s execution a number of couches were included in the sale. Morant & Co (fl.1885-1915) The dictionary of English furniture makers 1660-1840, published by the Furniture History Society informs that Morant Snr. was a maker of carved and gilded frames from early in the reign of George IVth, and his trade card describes the company as ‘Ornamental Painter and Paper Hanging Manufacturer to their Royal Highnesses’. Work was executed for Sir Thomas Lawrence, Sir Robert Peel...

The serpentine front on this magnificent commode is sophisticated and gives it gravitas. It has a rich colour and lustrous patina and has come from a private collection, Semenzato Ve...

This Classic 18th century model is a rare, small size with a rich color and lustrous patina. From a private collection, Semenzato, Venezia. Single plank top with solid moulded edge. The frieze with a band of gadrooned carving at the top. Below three drawers mouled with fine figuring original brass handles, escutcheon and locks only the top lock working. The pine drawers are lined with a block printed...

This charming lantern decorated with typical Dutch estuary scenes is a rare survival. Although they must have been made in large quantities as evidenced in many Dutch Old Masters th...