Less is More
and metamorphic furniture plus the
chair in which Emily Brontë died steal the show at Ronald Phillips’ attic sale.
Since taking the reins of his family's gallery, London antiques dealer Simon Phillips has expanded the inventory to include rare, impeccably sourced 18th and 19th century English wares, helped launch a glamorous art and antiques fair - this week's Masterpiece London - and cultivated a loyal following of sophisticated collectors.
Masterpiece London 2014
Masterpiece London 2014, has returned to the world’s capital of culture in June 2014 to celebrate its 5th anniversary. With 158 selected and internationally renowned galleries, visitors can see historic paintings, Renaissance sculpture, furniture by the prodigious makers jostling for attention with 21st century pieces; pictures by Warhol and Magritte, life-size horse sculptures by Nic Frddian-Green, breath taking jewels by Cartier and collections of medieval armour.
View the Virtual Tour
Masterpiece London is often compared to Maastricht, and
this year strong sales and highest visitors rate to date have been reported.
Collectors, curators and designers are drawn here for the astonishing diversity
of material with over 7,000 visitors crossing the threshold of the stunning
fair in the South Grounds of the Royal Hospital Chelsea, an increase of over
17% on last year. Visitors are also free to attend lectures, talks and debates
surrounding art and the art market, whilst the fair also features world-class
restaurants including, Scott’s, Le Caprice and The Ivy.
The Masterpiece Marie Curie Party will take place on
Monday 30th June, the second year that the charity has been the
beneficiary. In 2013 the Midsummer Party, chaired by Heather Kerzner, raised a
record of £840,000.00.
Highlights on the Ronald Phillips stand include,
A GEORGE III MAHOGANY DESK ARMCHAIR ATTRIBUTED TO THOMAS
CHIPPENDALE TO THOMAS CHIPPENDALE
The Chippendale provenance for this chair is almost
certain. It bears all the features of the top London maker and compares in
design to the well documented suite of seat furniture at Dumfries House,
Scotland. The unusually small size adds to the rarity and makes it the perfect
desk chair. An unpublished drawing by Chippendale in the Metropolitan Museum of
Art in New York relates in some detail to this chair and the suite at Dumfries.
However there are slight variations to the drawn design. Chippendale always
adapted his designs to suit the client and his work rarely follows a drawing in
every little detail.
THE PERCIVAL D. GRIFFITHS OVERMANTEL MIRROR
An exceptionally rare and important late 17th century
overmantel mirror by William German, having a central arched and bevelled
mirror plate and shaped and bevelled side plates with cut decoration within a
conformingly shaped band of facet bevelled border plates and framed by a
moulded giltwood border with acanthus and flower head carving.
Note: The original backboards with chalk inscription 'W.
RONALD PHILLIPS MAKING ROOM AT CHRISTIE'S SOUTH KENSINGTON
Ronald Phillips are proud to announce ‘Making Room’ at Christie’s. Ronald Phillips have recently moved warehouse and are making room for new items in the warehouse and gallery. The sale will offer a selection of furniture and objets d’art of over 300 lots that embody Simon Phillips’ exceptional expertise. Highlights include a pair of Regency mahogany caned library bergeres, early 19th century (£10,000-£15,000), and a George II mahogany side table, circa 1750 (£8,000-£12,000), as well as a wide range of affordable, decorative and unrestored pieces.
2 July 2014, 10.30 am
28 June- 1 July
85 Old Brompton Road
London, SW7 3LD
RONALD PHILLIPS AT SPRING MASTERS
Ronald Phillips are delighted to announce they will be
exhibiting at Spring Masters at The Park Avenue Armory from May 1st
– 4th. Under the new
leadership of Artvest Partners, Spring Masters New York, formerly known as The
Spring Show NYC, has been re-envisioned as an international art and design fair
that reflects the breadth and scope of artistic creation from antiquity through
the 20th century. Spring Masters features a design by architect
Rafael Vinoly that reimagines the visual impact, layout and experience of the
fair. Vinoly’s design includes hexagonal booths and floor plan; representing
the most significant change in the Armory fair format in three decades. In addition
to the new visual experience, Spring Masters remains committed to
connoisseurship, curation and visitor engagement.
Below are some highlights
that will be exhibited on the Ronald Phillips stand.
LARGE PAIR OF GEORGE III GILTWOOD MIRRORS, English,
II PARCEL GILT MAHOGANY SIDE TABLE, English,
RONALD PHILLIPS JOIN 1STDIBS
those who appreciate the finest antiques, provenance is absolutely key. Nothing
underscores the importance of a piece more than having both an important maker
and an exceptional provenance. Ronald Phillips tends to focus on pieces that
enjoy both, which is why 1stdibs serves as the perfect platform to display our
pieces. Driven by a philosophy that incorporates the best of the best from
around the world and a deep respect for the highest quality exhibits across an
assortment of disciplines for the discerning art and antiques shoppers.
clients are busy people, living and working on five continents and operating in
countless time zones. Today, to do business in the most accessible way we have
to use every piece of technology available to us. Our clients, wherever they
are, want all the information on provenance, background and condition of each
piece under consideration quickly in order to make an informed decision. It’s
the modern way of doing business and we want to be as accessible as possible.
Below are some highlights currently displayed on 1stdibs.
A GEORGE III WHITE PAINTED MIRROR , ENGLISH, CIRCA 1765 Read More
A VICTORIAN MAHOGANY KIDNEY SHAPED DESK, BY GILLOWS OF LANCASTER, ENGLISH, CIRCA 1860 Read More
KENWOOD HOUSE RESTORED
Over two hundred years since its colours and decoration
disappeared from view, English Heritage has restored the library at Kenwood
House in London to its original glory. One of the great rooms of 18th
century Britain can now be enjoyed as its famous Scottish architect Robert Adam
The Library or ‘Great Room’ at Kenwood House was built and
decorated to Robert Adam designs between 1767 and 1770 as part of the Scottish
architect’s remodelling of the entire villa for its owner, the Lord Chief
Justice, William Murray, 1st Earl of Mansfield. As well as the
library, three other Robert Adam designed rooms have been restored to their
original glory and four other rooms have been redecorated in their 18th
century style, and the repair of the house’s roof to protect not only the
interiors but the internationally important collection of paintings by
Rembrandt, Vermeer, Turner and Gainsborough. This revelation is part of a major
£5.95m repair and restoration programme at Kenwood House.
Items of furniture designed by Adam and integral to the
overall scheme have been tracked down, brought back, and now stand again in
their original places, including an original library window seat and two long
stools in the antechamber.
Kenwood House, Hampstead Lane, London,NW3 7JR
MIRRORS: DECORATIVE TECHNIQUES
Painted looking-glass frames are now relatively uncommon,
but that was not always the case. Many frames that are now gilded were
originally painted, but once the paint had become dirty or worn, it was easier
to gild than to repaint. Fortunately, it is sometimes possible to remove later
gilding to reveal the original painted surface, and many of the colour schemes
are startling in their freshness and colour.
A GEORGE III WHITE PAINTED MIRROR
English, circa 1765
The advantage of gilding over painting was that it was more
durable and less liable to discolour. Gold also has a reflective lustre that
paint lacks, an important consideration when candles were the only source of
light. Water gilding must be laid on a
ground of gesso. Gesso is a mixture of powdered chalk/ bound with glue. It was
painted on to the wood in several layers. The next stage was to apply a bole,
which was a refined clay mixed with ‘glair’ (egg white and water) and a
pigment, usually red, yellow or grey/blue. Most 18th century English
gilding used a red or yellow bole. The bole’s primary function was as a
‘mordant’, to bind the gold leaf to its ground. Its secondary function was to
enhance or modify the colour of the gold. Gold leaf was laid directly onto the
polished bole, which had first to be wetted with cold water. Once laid and dry,
the gold could either be left matt, or burnished with a ‘dog’s tooth’ agate
stone mounted on a wooden handle. Where original gilding survives on old
frames, the difference between burnished and unburnished parts is usually
evident, giving life and variety to an otherwise uniform gold surface.
A GEORGE I GILTWOOD PIER GLASS
English, circa 1725
Silver leaf can be laid in the same way as gold. Like
painted frames, silver frames were more common than is now apparent, because
they were often gilded once they began to wear and tarnish.
A WILLIAM III OVAL SILVERED GESSO MIRROR
English, circa 1695
MASTERPIECE LONDON ANNOUNCES PRINCIPAL SPONSOR
Masterpiece London has announced the signing of a principal
sponsorship deal with RBC Wealth Management, one of the world’s top ten largest
Nazzy Vassegh, Masterpiece’s CEO said: “Masterpiece has
strengthened its position as one of the world’s premier international art fairs
during the past four years and now is the perfect time to assign a principal
Masterpiece London are busy planning their 2014 edition at
which they will be celebrating their fifth anniversary. The fair will showcase
the finest master works available, creating an unmissable opportunity for
international collectors and connoisseurs. The fair will take place from 26thJune-2nd July 2014.
The Masterpiece Marie Curie Party will take place on Tuesday
1 July at 19.00. In 2013 the Midsummer Party, chaired by Heather Kerzner,
raised a record of £840,000, beating Marie Curie’s target of £500,000 by a
Right) Designer Paul Smith, Editor in Chief of American Vogue, Anna Wintour and
HRH Princess Eugenie at Masterpiece
GIRANDOLES AT RONALD PHILLIPS
Towards the middle of the 18th century the term
‘girandole’ came into vogue. It derives from the Italian ‘girare’, to gyrate,
and originally applied to a type of firework similar to the modern Catherine
wheel. By 1740, ‘girandole’ was being used in England to describe decorative
light fittings; the trade card of the brass founder John Giles (d.1742) cites
‘Wrot & plain Jerandoles’ among his stock-in-trade. Giles’s ‘Jerandoles’
were of cast brass, and presumably did not contain glass. Similarly, of eight
designs for ‘Gerandoles’ in Thomas Chippendale’s Director, four included
mirrored glass and four did not. Like sconces, the primary function of
girandoles was to provide lighting. While it seems that ‘girandole’ could be
simply a fashionable term for a sconce, it was also descriptive of the more
ambitious frame designs of the rococo period.And while most were fairly modest in size, some were truly
spectacular.From the middle of the 18th
century the terms sconce and girandole were used indiscriminately to describe
mirrors with lighting attached.
A PAIR OF GEORGE III GILTWOOD GIRANDOLES
English, circa 1765
These girandoles have survived in beautiful original
condition, and remarkably have even retained their original candle arms.
A PAIR OF GEORGE II GESSO GIRANDOLES
English, circa 1740