19th Century English Burl Walnut Sutherland Table

PRESENTING a GORGEOUS Early 19C American Sheraton Tilt top Table of very desirable neat proportions. Made in America, possibly New York or New England, circa 1800. Made of Walnut, cherrywood and satinwood. The table is diamond in shape and the turned tripod base and feet appear to be made of walnut. The feet have beautifully simple, pointed toe feet …. ‘classic’ examples of ‘period’ American side tables of this Era! The square platform, attaching to the top to the base, has a brass catch/latch insert, with a ‘period’ brass button clasp on the underside of the table top, for the tilting mechanism. The square table top, itself, appears to be mainly cherry wood for the central square section, which in turn is then encased in a walnut square border and edged with a beautifully patinated striped satinwood. The central diamond on the table top is likewise a striped/burl satinwood of very high quality, edged with boxwood. There is a visible crack on the top and it appears that at some stage in its history, someone turned the table top 90 degrees, so that the baton supports underneath would support the weakened section with the crack. We have no doubt, however, that the top is original to the base and not a ‘marriage’, as the line (as one can see in the photos) on the base of the top where the batons were previously located perfectly matches the existing batons. The table is very ‘stable’ but the top (once locked in the down position) has a very slight lean towards the repaired cracked section. This is not significant and does not detract from the beauty and utility of this piece. We have, however, reflected these repairs, etc. in our pricing. It is also obvious, that the table was ‘always’ diamond shaped. It is the use of the cherry and walnut, coupled with the toe feet, that tells us, that this is ‘unmistakably’ an American Sheraton piece. Provenance: From an Outstanding Private Dallas Collection. Condition: Very good. See the full listing (above) for more detail on minor defects. Dimensions: 26.75 inches tall with top down, The table top is 17.2 inches x 17.8 inches With the top tilted it is 39.25 inches Tall and has a depth/width at the feet of 19.75 inches. Sheraton is a late 18th century neoclassical English furniture...

Presenting an absolutely gorgeous and extremely unique and rare 19th century British Tunbridgeware hair pin/bobbin or slide. This slide is unlike any of it’s kind we have seen before…. it is a very rare survivor ! From circa 1860–1880. Made of walnut with gorgeous marquetry inlay on the entirety of the front with classic Tunbridgeware micro-mosaic all over the front. The rear is walnut. The marquetry inlay appears to be various different woods, namely, maple, walnut and satinwood. Would have been worn in a Lady’s hair bun with the micro-mosaic facing forward. This would have belonged to a very elegant lady in the mid to late 19th century. Tunbridge ware is a form of decoratively inlaid woodwork, typically in the form of boxes, that is characteristic of Tonbridge and the spa town of Royal Tunbridge Wells in Kent in the 18th and 19th centuries. The decoration typically consists of a mosaic of many very small pieces of different coloured woods that form a pictorial vignette. Shaped rods and slivers of wood were first carefully glued together, then cut into many thin slices of identical pictorial veneer with a fine saw. Elaborately striped and feathered bandings for framing were pre-formed in a similar fashion. There is a collection of Tunbridge ware in the Tunbridge Wells Museum and Art Gallery in Tunbridge Wells. The famous makers of Tunbridge ware were in the Tunbridge Wells area of Kent; their most notable work was from circa 1830-1900. Early makers of Tunbridge ware, in Tunbridge Wells in the mid-18th century, were the Burrows family, and Fenner and Co. In the 19th century, around 1830, James Burrows invented a technique of creating mosaics from wooden tesserae. Henry Hollamby, apprenticed to the Burrows family, set up on his own in 1842 and became an important manufacturer of Tunbridge ware, employing about 40 people. Edmund Nye (1797–1863) and his father took over the Fenner company when William Fenner retired in 1840, after 30 years in partnership with him. Thomas Barton (1819–1903), previously apprenticed at the Wise factory, joined the Nyes in 1836, and worked as Nye’s designer; he took over the business in 1863 and continued there until his death. In Tonbridge (near to Tunbridge Wells), George Wise (1703–1779) is known to have had a business in 1746. It continued with his son Thomas, and Thomas’s nephew George (1779–1869), who took over in 1806. In its early years the company made articles such as workboxes and tea caddies with prints of popular views; later items had pictures created from mosaics. Their workshop in Tonbridge, Wise’s Tunbridge Ware Manufactory, was next to the Big Bridge over the Medway; the building was demolished in 1886 to widen the approach to the bridge. Tunbridge ware became popular with visitors to the spa town of Tunbridge Wells, who bought them as souvenirs and gifts. Articles included cribbage boards, paperweights, writing slopes, snuffboxes and glove boxes. At the Great Exhibition of 1851, Tunbridge ware by Edmund Nye, Robert Russell and Henry Hollamby was shown; Edmund Nye received a commendation from the judges for his work. He exhibited a table depicting a mosaic of a ship at sea; 110,800 tesserae were used in making the picture. The manufacturers of Tunbridge ware were cottage industries, and they were no more than nine in Tunbridge Wells and one in Tonbridge. The number declined in the 1880s; competent craftsmen were hard to find, and public tastes changed. After the death of Thomas Barton in 1903 the only surviving firm was Boyce, Brown and Kemp, which closed in 1927. Marquetry was an old technique which was continued by Nye and Barton to create images such as birds or butterflies. ‘Green Oak’ as caused by the fungus Chlorociboria aeruginascens. Stickware and half-square mosaic was invented by James Burrows in about 1830: a bunch of wooden sticks of different colours, each having triangular or diamond-shaped cross section, were tightly glued together; in the case of stickware, the resulting block was dried, then turned to form an article such as the base of a pincushion. For half-square mosaic, thin slices were taken from the composite block, and applied to a surface.[1][2][4] Tesselated mosaic, was a development by James Burrows of half-square mosaic; it was adopted by George Wise and Edmund Nye. Minute tesserae were used to form a wide variety of geometric and pictorial designs. Many sorts of wood were used for the various colours; about 40 were in regular use. Only natural colors were used; green was provided by “green oak”, produced by the action of fungus on fallen oak. Designs for articles were often taken from designs of Berlin wool work.

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